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Land Minds (Media: concrete, watercolor, Sumi ink. The interior contains a printed “prayer” in scroll form. Part of a collection of 50, which are themselves part of a larger project titled Grief-Work, a meditation on diasporic storytelling and place making)
Jacob’s Ladder (maquette)
War Memorial: Afghanistan (maquette, cinematic elevation)
War Memorial: Iraq (maquette, cinematic plan view)
Absolute Past, Imperfect Present (a sculptural-architectural symbiosis, digital render)
As we increasingly fall under the command of the mathematical and technical, the functional, interchangeable, and efficient – represented here in the GRID - deep-rooted psychological, social, cultural, material, and environmental needs, requirements, conventions, and legends that subtend habitation are becoming lost. This loss is represented by the impenetrable BASE of the work. By its sheer innovative presence and power, the grid altogether supplants, annuls, eclipses, or renders obsolete older forms of living. It stands in remarkable hostility to the past. Unburdened by cultural and historical variation, it produces a dizzying placelessness, strangeness, and interminability. The grid is monumental, authoritative, totalizing, systematic, and fixed. It is detached from the complex, intimate, and continually shifting, fluid, and historically and materially bound experience and realities of ordinary, everyday human living. It is a degraded, largely coercive pattern. And yet, despite its historical “success,” it serves infinitely poorly to engender lasting intrinsic effect.