surf; 1600 Kirin crates, propane tanks, test tubes, photographs, video, sound; Japan%2 surf, Japan, 1992 surf; Japan, 1992 surf, entrance; test tubes, blood, oil, photograph; Japan 1992
surf; test tubes, blood, oil, photograph; Japan, 1992 surf; propane tanks, paper, stone, wood, rope; Japan, 1992 aurora; bamboo, rice husk, coloured water; japan, 1991 aurora II; bamboo, rice, coloured water, ikebana container; Japan, 1991
aurora, detail; bamboo, rice husks, coloured water; Japan, 1992 aurora 2; bamboo with roots, coloured water, rice, ikebana container; Japan, 1992 aurora2; bamboo with roots, coloured water, rice, ikebana container; japan 1992 identity (detail of installation); mannequins, rice husks, stone, test tubes, liquids%
hide; stretched tent canvas, wood, rope; 6 feet x 6 feet; 1995 hide; stretched tent canv as, wood , rope, painting; 1995 hide; stretched tent canvas, wood, rope; 5 feet x 5 feet; 1995 ecology; pine floor boards, sand; 10 feet high, 8 foot diameter at top; 1990
music stand; reclaimed fir; 16 feet high exit (music stand with painted door); reclaimed materials; 18 feet high colton lake; bronze, stone, soil; 2 feet high Another logic (Installation view); reclaimed house parts, photocopies, text

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The above work is from various exhibitions.  The Surf work is from the Takasaki Museum of Art, in Takasaki, Japan.  This installation concerned itself with the relationship of industry and community.  A symposium was held in the installation, with corporate leaders and community members airing their opinions on the role that the other might play in community development.  The Aurora works were totemic references utilizing the materials of bamboo and rice.  Perhaps best seen as a form of visceral storytelling, these works formally re-arrange traditional materials, mimicing the art of ikebana.  The Hide reliefs call to mind the process of drying and stretching animal skins, while Ecology transformed a wooden floor into a pot, albeit one containing only sand.

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