For a site-specific installations like OOUAUUA, I prepare material components through my established building process. However, the objects I make tend to be smaller in scale and often comprised of single material elements that would be merged if I were to construct a composite sculpture. For example: I wind rope and leave knitted forms empty.
These elements accumulate in indifferent piles next to one another on my studio floor. My approach to making is more spontaneous because I am not working towards building a composite sculpture in my studio space, which requires careful arrangement and connection of material components to one another. My primary goal is instead to consider material components in relation to the space they will be installed. So, I work diligently to create a pallet of objects. Their function and placement will be determined outside of my studio walls.
The last part of this site-specific installation process requires a physical recognition of this composition, which I discover through my body. Once material components have coalesced into forms, and connection points have been made, I set out on an expedition through this material world. I aim to discover the path viewers will take through the space. If the original material components are words in my visual language and anchor forms are sentences, the site-specific installation is a paragraph and is read through the body, like verbal language, from left to right. I enter the installation and record my body’s movements as I encounter what I have made.
Over, Over, Under, Around, Under, Under, Alongside, Over, OOUAUUAU.
