The Burnt Marshmallow is located on private land in an unincorporated township in California. It serves a dual purpose as an outhouse and a greenhouse. It is pictured here in the summer with a screen door. When sitting on the bench inside one looks out through the horizontal window, a repurposed shower door, into the tree canopy of the forest in which the structure resides.
Garlic Drum was built in Oakland, California at the Shadetree artisan compound. Deconstructed into ten pieces it was then driven to Chapel Hill, North Carolina where it was reassembled at the Level Retreat residency where it now resides.
The Pickle Hut lives at the Watershed Center in Millerton, New York, where it can be found along hiking trails in the woods.
This altar was made with Marshall Lacount for our friends Chelsea and Jeff. The canvas is a canoe, formerly named Tippy, that had been part of numerous artistic ventures that Jeff had helped create.
Photograph by Tod Seelie.
Created for the group show Headscapes in Long Island City, New York, A Quiet Place To Think is an installation inspired by my process for making music videos. During the show musicians plugged in and played the igloo. Seen here is James Mulry, who DJ’d the opening reception.
Photograph by Tod Seelie.
While in residency at the Clocktower Gallery in New York, New York I built this table for the creation of Do The Devo by Unstoppable Death Machines. Hundreds of visitors came through and helped draw individual frames of the video that were then compiled into a full length music video.
A Quiet Place To Think was deconstructed, and the pieces were immediately used to create this massive wall of speakers that served as a backdrop for a DJ booth during the closing reception.
Photograph by Lauren Silberman.
The Butterside Down chandelier was created for the group show Small Worlds Of The Claiming Moon in Brooklyn New York, hosted by the collective Noodle Beaches For Meeting Witches. Attendees were invited to lie down beneath and view a light show inside the sculpture that featured a disco ball from an abandoned night club.
Butterside Up was created for the yard at Pioneer Works in Brooklyn, New York. It was a hive of activity for patrons of all ages. Morning glories and moonflowers were planted at the middle level of the structure, and grew to the top. Eventually, like the fruits and vegetables that inspired its shape, it rotted, and was put in the compost.
The Silent Barn in Brooklyn, New York was home to the last use of the pixel panels from Parts and Labor’s music video for The Gold We’re Digging.
For Parts & Labor’s last show I reused numerous materials to create a stage set for the band. The pixel panels from the music video we did together for their song The Gold We’re Digging make one more appearance with the band.
Photograph by Tod Seelie.
Dictionary Forest was built in Queens, New York for a Showpaper fundraiser. G Lucas Crane performed within its boundaries, after which the trees were cut down and the grass mowed down to the wood.
A sukkah built at Luria Academy in Brooklyn, New York for the holiday of Sukkot. It was used by the school for gatherings of students and families.
Let Me Tell You About A Dream I Had was hosted by the Philadelphia Art Alliance in Philadelphia, Pennsylvania. The work seen here was part of a museum wide installation by over forty artists. The structure is created out of reused produce crates, and the Seussian trees from signs that littered the telephone poles in the neighborhood that the artists working on the projected lived in for the summer.
Photograph by Tod Seelie.
Let Me Tell You About A Dream I Had was hosted by the Philadelphia Art Alliance in Philadelphia, Pennsylvania. The work seen here is the entrance hall to a flotilla, created by over forty artists, that featured numerous rafts, not least of which was a bicycled powered ferris wheel. The flotilla lived on the Schuylkill River and visitors were invited onboard for a weekend of festivities. The entrance hall was built with Tod Seelie.
A Sequence of Waves was a group show that took place at St. Cecilia’s, a former convent in Brooklyn, New York. A couple days before the opening of the show the city was blanketed by a large snowstorm. I had already completed my installation inside, so I grabbed an old drawer and built 21½ Monitor Street. Built entirely of snow, the structure quickly become covered in graffiti, had Yellow Pages left outside of it, and numerous livery and locksmith services left their business cards in the doorway. It lasted long enough to sleep in it for a night and for visitors to enjoy a drink inside during the opening.
Photograph by Tod Seelie.
This installation was built for the group show A Sequence of Waves in Brooklyn, New York. The structure, seen in the back here, was constructed piece by piece for a music video for Parts & Labor’s song Echo Chamber. Following this the room was outfitted with Parts & Labor ephemera, and friends of the band were invited to perform on opening night. With a yard of astroturf out front it was only fitting to title the night House Show.
Photograph by Tod Seelie.
The first in a series of architectural sculptures built out of produce crates and staples. These three were built for the Art + Architecture 2011 show at the Gowanus Ballroom.