Topologies
Southeastern Center For Contemporary Art (pictured), Winston-Salem, NC, 1998;
Cleveland Center For Contemporary Art, Cleveland, OH, 1998;
Grey Art Gallery And Art Center, New York University, NY, 1998;
Des Moines Art Center, Des Moines, Iowa, 1999;
Contemporary Arts Museum, Houston, TX, 1999

Photography: Gagosian Gallery, courtesy SECCA

Having completed Groundswell and the first of the Wave Field series, I wanted to transfer what I was exploring in my outdoor installations to the confines of a museum. Topologies was the first exhibit in which I was able to create two interior landscapes: Untitled (Topographic Landscape) (1997), a large platform made of particleboard strips that suggests the curvatures of the earth’s topography in a way that is reminiscent of a water or a sand dune formation; and Avalanche, a site- specific installation of poured crushed glass. Included in the show was Rock Field (1997), an installation of forty-three glass sculptures that I had glassblowers shape for me based on the shape of actual irregular water worn rocks that I had collected during a residency at the Pilchuck Glass School. I also started a series of smaller scale wax sculptures and drawings of sectional cuts through the earth in which I began to explore a mapping of the ocean floor and studies of geodes and craters and fractures in the earth’s crust.

Related Press:

• Cotter, Holland. Art in Review. The New York Times (September 11, 1998)