Ground Floor, was a participatory art project in collaboration with Artists Alliance Inc, that explored the potential uses for the ground floor of the Seward Park Urban Renewal Area (SPURA) as untapped capital in the Lower East Side. Took place during the New Museum's IDEAS CITY Festival on May 4, 2013, Ground Floor will provide visitors with a forum for brainstorming, discussion, mapping, and an art project recreating the naturally growing morning glory flowers that cover the fencing surrounding the renewal site.
Participants were invited to join expert-led walking tours of the the LES to the SPURA sites, take self-guided tours, add to the photo archive documenting the existing renewal sites, and contribute your own ideas for new development on the sites. Other participatory components include: open discussions at our StreetFest meeting table and the Delancey Pedestrian Plaza, chalk drawings at location sites, and an art project recreating the naturally growing morning glory flowers that cover the fencing surrounding the renewal site.
Guided tours of the Lower East Side, focusing on the SPURA renewal sites led by architect and Lower East Side resident Guido Hartray. The tours concluded on the SPURA site above the proposed Lowline, a subterranean public park under the historic trolley terminal beneath Delancey Street. The tours are presented in partnership with The Lowline and Municipal Arts Society's Jane's Walk.
Morning Glory, photograph 2012
City Trash Series
Bowery, summer trash
Needlepoint, 2010-2011, 16 x 16 inches
Greenwich Ave, 2013, Needlepoint, 8 x 10 inches
Needlepoint, 2012, 6 x 8 inches
Needlepoint, 2011, 9 x 10 inches
Allen & Delancey
Needlepoint, 2010, 6 x 8 inches
Bowery (Winter trash)
Needlepoint, 2009, 5 x 6 inches
Needlepoint, 2009, 7 x 8 inches
Needlepoint, 2009, 5 x 3 inches
2011, project commissioned by The James Gallery at The Graduate Center CUNY
"As reality is created as something unforeseeable and new, its image is reflected behind it into the indefinite past; thus it finds that it has from all time been possible, but it is at this precise moment that it begins to have been always possible, and that is why I said that its possibility, which does not precede its reality, will have preceded it once the reality has appeared. The possible is therefore the mirage of the present in the past; and as we know the future will finally constitute a present and the mirage effect is continually being produced, we are convinced that the image of tomorrow is already contained in our actual present, which will be the past of tomorrow, although we did not manage to grasp it. That is precisely the illusion." - Henri Bergson
Ascenseurserves as a visual pause, functioning similar to how an elevator moves from floor to floor between time and space, thus allowing for a moment of reflection or idle thoughts. The ornamentation for the textiles are derived directly from the building elevators that were a part of the original design by architects Trowbridge & Livingston, for the B. Altman Department store built in 1905. These elevators located in the Graduate Center's library were restored to their original finish. By highlighting the architectural ornamentation of the past, the three large scrims hanging adjacent to the gallery windows, will serve to question ornamental function, as well as to visually shield and interact with the view of car and pedestrian traffic along Fifth Avenue. The way the patterns will diffuse the dense urban environment outside will allow for a more contemplative space. A textile based collaboration with fashion designer, Laaleh Mizani.
2005, wood, paint, 15 feet x 5 feet
It was on view at The Peekskill Project in 2005, an exhibition by the Hudson Valley Center for Contemporary Art
View from video installation, projection onto white clothing as screen; 2000. A collaboration with artist's mom and grandmother who sewed the clothes used in the projection.
2003, Artists book, Cataloguing Uptown, Midtown, and Downtown urban patterns and details collected into a hand bound book with silk screen prints, acetates, and archival photographs. A collaboration with book artist Sarah Thompson King and designer Jason Severs
Stoneware- ceramic, sizes vary from 3 feet to 8 inches.
2010, installation, 10 feet by 4 feet, Thread spools
Brick Wall Series
Series from 2000-2003 sizes vary from 10 feet to 2 feet, yarn, glue and wood.
City Yarn Paintings
Empire State Building
2000, yarn & wood, 24 x 30 inches
Chrysler Building, 2000, yarn & wood, 24 x 30 inches
World Trade Center, 2000, yarn & wood, 24 x 30 inches
2000, yarn & wood, 18 x 20
2004, yarn & wood, 30 x 24 inches
Yarn painting, 2001, yarn & wood, 30 x 24 inches
Water Tower Series III, 2001, yarn & wood, 20 x 22 inches
Water Tower Series II, 2001, yarn & wood, 20 x 22 inches
Highline, 2001, yarn & wood, 20 x 22 inches
Works on Paper
Trash drawings, 2012, 8 x 10 inches, pencil on paper
Building, 2003, gouache on paper and ink, 3 x 4 inches
Iron/Brick, 2001 gouache on paper 5 x 9 inches
2006, subway tiles, wood, metal, paint, sizes vary from 6 ft to 2 ft.
On view at The Peekskill Project 2006, an exhibition by the Hudson Valley Center for Contemporary Art
City Yarn Drawings
Brick /Gate/ Grass, 2001, yarn on paper, 4 x 5 inches
Water Towers, 2001, yarn on paper, 7 x 4 inches
Counting City Blocks
2003, video still, artist walked around on square block counting each foot step taken.