OUTDOOR
INSTALLATIONS

I imagine the round earth, dark brown dirst and solid through. I am walking on the surface, the skin, shown to me.

This little patch, the park/garden in Middelheim has been resurfaced for generations, Each leaving their mark, their drawing; shaping the ground we walk/work on.

This canvas is not white.

I am walking over and in a fantasy garden – carefully mapped, orchestrated holding, framing, soem nature. Full of life. Over this map I plan a few marks to converse.

We make our world. Each one of us too. A privilege for a moment to have such a large canvas. marks so ... to speak to.

Close scrutiny

Under the magnifiying glass.

Drawn in the sand. Drawing attention. Small details. Grass like paint, a surface, skin, place of illusion. The park contains, gives rise to illusion, or story telling,
bracketing experience. Calm, tranquil, controlled nature.

More than a skin it seems a drawing. Like the children’s story Harold and the Purple Crayon. Where Harold draws the world around him as he wishes it to be.

This work draws/carves into the work of the park, expands the dialogue or the story. It uses the ‘real’ material of the grass, trees, earth, ‘sculpture’, to support a further flight of fantasy/fancy.

Flying down the horizon line arriving at a human spine. The two things being one, they conflate. Microscopic and universal. Near and far.


Landscape Linoleum |1998


Installation view at
Openluchtmuseum Beeldhouwkunst,
Middelheim Sculpture Park, Antwerp, Belgium


pools,  two heat lamps, two circular concrete slabs,
scaffolding, 17 Car bodies, blur rope, painted grass, and trees






An ant wishing for an aerial view, slowly covering ground the human eye moves across like the wind.

The first moment a symphony orchestra begins to play, the violins tuning up, the sky full of stars opens up above.

A film cutting away from the close intimate action to an aerial view  of a plan flying.

Inserting ourselves in the landscape. An odd thing to do given that we are here a priori.Points toughing, line drawn, outer and inner worlds, the earth covered, dark, stripped; pressed against the colours of the painting – plastered like a bandage. Peeling apart revealing interdependence.

The horizon line, drawn, where the lawn meets the edge of the trees. There is a flattening.

The lawn picks itself up and role backwards to the feet of the eyes. A gash  opens  below the trees, a green cloud hovering over solid rock.

From this cut in the fabric of the scene there could arise trombone music and violins. Bass too. Sound filling the air floats to match the structure thought hovering over the park  making it what it is. Forming it – bracketing it – framing. Music calls attention to times passage. Structured though hovers as if timeless though it too is in flux. Ideas in the head forming reality do not cinlude flux as part of the foreground.1


1.  Stockholder, Jessica, Lynne Tillman, Germano Celant, and Barry Schwabsky. Jessica Stockholder. Second edition, revised and expanded. London: Phaidon Press Ltd., 2018.

ANDOVER 
GROUND COVER















































1981



Installation view at the
University of Victoria, British Columbia
Plywood, 2 x 4” wood, metal, carpet, oil paint



My
Father’s 
Backyard |1983



Backyard in Vancouver, BC, Canada
cupboard door, mattress,
painted grass, chicken wire


FIRST COUSIn ONCe REMOVED/
CINEMA OF BRUSHING SKIN|1999


Power plant, Toronto, Canada

trailer truck, hardware, bench, painted grass,
lights, paint, floor tiles, dropped ceiling,
dropped lighting track, yellow rope,
table lamp, wheel barrow,
building materials, vinyl