'vessel one, 2018.'

Action w/ tidal water in found ceramic crucible.

(Witnessed, documented, and assisted by Samuel L. Kristofski.



This noncommissioned work was initiated on 28-3-18 at 22:30 hours.

This installation is tidal, its existence is somewhat temporary as it's in a state of constant change. To view and witness is dependent on lunar influence, extraterrestrial influence. The vessel holds the past, it holds what once was, with what vitality the crucible has it holds what once was all encompassing. Taken from its original context and placed uninvited and unaware in another. 

There is an urgency, there is a tidal shift, imminent change, whether understood as trough or crest, the shift of change exists in the moment and in time. We leave this space, allowing time to unfold into the future. The shared space is developed to enable future access to shared space, neglecting the space in it’s past tense. “Into the hall of mirrors, the mise-en-abȋme of beams, she moved farther and farther from us, and as she passed into the distance, she passed into the past as well. Yet suddenly she was right behind us:...”(1)

  1. In the opening paragraph of the introduction to ‘The Return of the Real,’ Hal Foster describes his friend’s daughter, skipping along the beams of a Robert Morris work, Untitled, 1977, “For her playing of the piece conveyed not only specific concerns of minimalist work - the tensions among the spaces we feel, the images we see, and the forms we know - but also general shifts in art over the last three decades - new interventions into space, different constructions of viewing, and expanded definitions of art. Her performance became allegorical as well, for she described a paradoxical figure in space, a recession that is also a return, that evoked for me the paradoxical figure in time described by the avant-garde.” Foster, H. The Return of the Real, Cambridge: The MIT Press, 1996.  

Witnessed, documented, and assisted by Samuel L. Kristofski.