SCULPTURE INSTALLATION PERFORMANCE

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I_Am_Not_A_Sacrifice_Zone - detailI Am Not A Sacrifice Zone

tumbleweed, metal civil defense drinking water canisters, canvas, paint, wood

H. 8′  W. 11′  L. 5′

Price on Request

Artist Statement for I Am Not A Sacrifice Zone

A Sacrifice Zone is a geographic area that is being environmentally or economically sacrificed at the behest of industry and is often positioned in low-income communities.

In contrast, I envision a 100% environmentally safe and habitable New Mexico and the consciousness required for a safe and just global climate, that is, a house for living beings. We are moving into an evolved Ecozoic age as we shed the destructive mindset toward the earth.

Yet, as New Mexicans, we are holding in common stories of environmental devastation or of its impending threat, and too often, these histories remain unknown outside of the immediate community. Compounded by the reality that the Southwest is one of the most threatened regions in the world for drought and wildfire, fracking for oil and gas risks irreversible and permanent contamination of New Mexico’s water sources. It takes 1-8 million gallons of water to complete each fracturing well. Up to 600 chemicals are used in fracking fluids, including known carcinogens and radio-active isotopes. Water used in the process in permanently removed from our publicly shared water reserves.

I Am Not A Sacrifice Zone-Statement

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Miscellaneous

mixed media

H. 6”  W. 30”  L. 96”

$15,000

Miscellaneous

The text in the bed of the open case was derived from sec. 312 of the Patriot Act 2, which states that limits on intelligence gathering on religious and political activity would be repealed. In evaluating the Patriot’s Act, the Washington National Office of the ACLU concluded: “In late 2001, senior intelligence specialists wrote that the use of racial profiling and other investigative techniques that intrude on civil liberties could undermine security by distracting security officials from less clumsy and more reliable individual suspicion.”

Many American policy makers with the power to sway public opinion, have produced or voted for policies that are in fact precisely the kind of policies carried out by the Soviet Block, which we had so passionately disputed just a few decades ago during the long and arduous Cold War.

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Miscellaneous, detail

mixed media

H. 6”  W. 30”  L. 96”, full scale

$15,000

Statement for image of the drawers: Miscellaneous, detail

Miscellaneous was largely inspired by the famous quotation by Martin Niemöller (1892–1984), an outspoken public foe of Adolf Hitler who spent the last seven years of Nazi rule in concentration camps.

First they came for the Socialists, and I did not speak out—Because I was not a Socialist.

Then they came for the Trade Unionists, and I did not speak out—Because I was not a Trade Unionist.

Then they came for the Jews, and I did not speak out—Because I was not a Jew.

Then they came for me—and there was no one left to speak for me.

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Memonic Device

sign painter’s enamel, found wood

H. 7.5′  W. 28″  D. 2″

$5900

Memonic Device

I trust the sum representation of nations listed can create a momentary hold on the cultural amnesia that occurs in myth building. If we remembered every intervention, perhaps we would no longer accept as the norm military spending and weapons manufacturers.

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pushSWING

found object-wood, chain, acrylic paint

H. 11” W. 12” D. 10″
chain: variable length

$5400

During the decade long embargo against Iraq, 500,000 children lost their lives to malnourishment and disease. The world was barely informed of this atrocity. Policies often push to the limit America’s economic rivals and ideological opponents. The swing seat is scorched and the beautiful decorative detail references arabesque mofits of mosques. The word “push” is lowercase to call attention to the fact that a push of any force may return a larger swinging arc in response.

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Mini-Memorial to the Iraqi People

cellophane, freeze-dried roses, translucent images

H. 10″  W. 11″  D. 3″

NFS


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Book Disinfection, back view

books, de-molding spray

variable

NFS


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Book Disinfection, front view

books, de-molding spray

variable

NFS


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Giant Handkerchief

cotton, digital images, lace

L. 84"  W. 84"  D. 2"

$5900

“Images that, severed from all earlier associations, reside as treasures in the sober rooms of our later insights.”
–Walter Benjamin, from Excavation and Memory

Ahni Rocheleau Statement on Giant Handkerchief 

The toddler in this parody of Time Magazine, Andrew Golden, at age 11 in 1998 shot several classmates in Jonesboro, North Carolina. According to Time [magazine] “Neighbors had reluctantly grown used to the sight of Drew biking in military fatigues . . . always wearing camouflage clothing and talking about hunting and shooting targets. . . Santa gave Drew a shotgun when he was six.”

In the pinwheel-flower images, the implication of the media in mediating our thought processes for us is fundamental to a collective inability to articulate the root causes of a warrior culture. Drew himself is not only a perpetrator, but also an unfortunate victim. Like many he is at his young preteen age caught up in the facile acceptance that there are enemies, rather than, real people, in his psychologically loaded dualistic world.

The span of white cloth within which the pinwheels float, like blank space, presents the very meaninglessness of the boy’s existence. He clasps the gun close to his chest, and his image in the petal of the pinwheel is cut off, visually not whole, nor is it whole because of his tender age. Andrew Golden embodies how the militarization of humankind can turn individuals into psychopaths and sociopaths.

This work challenges the acceptance of the institution of war and our personal responsibility in generating it and complying with it. In Western European society, we perceived military culture primarily as a male generated device, at least until a few years ago, and we participate in supporting a hero and victory industry. Yet, children are most often raised through the contribution of both male and female parents. The TV, film, toy, and gaming industries in homes where parents are too busy, becomes the surrogate parent. Perhaps this Giant Handkerchief artwork leads us to ask questions: Who manufactured and sold this attire? Who dressed this boy? Who bought the gun? and, Why?

I chose to use sewing to assemble this piece due to its historic and conventional association with female work. Needle and thread is also understood as a means to repairing and healing. This ‘feminine’ piece becomes ironical when considering the largely overlooked role of women within the realm of the war culture. With notions of conventional beauty, the span of pure cotton, the intricate Spanish lace, and the pinwheel flowers with the image of Andrew Golden, I use the strategy of seduction to lure the viewer. How do we grapple with the contradictions contained in voiced opposition to violence, and the simultaneously willingness to perpetuate warrior culture?

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Giant Handkerchief
, detail

cotton, digital images, lace





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Camouflage Sweet Dream Desert Storm

cotton

standard size pillow case

$1250


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Camouflage Sweet Dream HotRed

cotton

standard size pillow case

$1250


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Camouflage Sweet Dream Candy

cotton

standard size pillow case

$1250


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Bronze Shoe

bronze

H. 3.5"  W. 3.5"  L. 9 3/8"

$11,000

What do we carry inside of us when our country is bombing?
Do we think of those who we bomb? Do we see them?
Do we hear those who are trying to live under embargo, asking for medicines?
Do we ever put ourselves in their shoes?

If we could learn to put ourselves in their shoes,
see the world from the perspective of the other,
what a different world we would have.

If we could read the secret history of our enemies, we would find in each man’s life a sorrow and a suffering enough to disarm all hostility.
–Henry Wadsworth Longfellow

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Memorial to the Iraqi People II-Samarra, front view

paper, Plexiglas, wire, freeze-dried roses, magnifying glass, images

H. 121"  W. 42"  D. 120" (note: 48"x 48" Plexiglas target/gun-scope with dried roses is 10' away from the wall piece)

NFS


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Memorial to the Iraqi People II-Samarra, detail

Plexiglas target with freeze-dried roses, located 10 feet out away from the wall installation

NFS


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Memorial to the Iraqi People II-Samarra, detail

"doubletake" photograph of the Imam Husayn Mosque in Karbala, Iraq

NFS

In Karbala, fluorescent lights and mosaic and mirrors reflect the gold and silver decorated shrine of Imam Husayn, the grandson of the prophet Mohammed. The pilgrims are of the Shia sect, who split with Orthodox Sunni Islam more than a thousand years ago.

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Memorial to the Iraqi People II-Samarra, detail

photographic images detail left to right:
stucco wall panel from Samarra with five-lobe vine scrolls;

astrolabe, Iraq, dated 315 AH/A.D. 927-28, Greater Iran, 2nd half 14th century A.D., Kuwait National Museum;

tile, composite body, carved and glazed painted, Kuwait National Museum;

NFS


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Memorial to the Iraqi People II-Samarra, detail

floor plan of the Great Mosque of Samarra with magnifying glass

NFS

Floor plan of the Great Mosque of Samarra, each square symbolizing a column.
Many columns accentuated with the photograph of an Iraqi person who died
in the 1st Gulf War.

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Memorial to the Iraqi People II-Samarra, detail

floor plan of the Great Mosque of Samarra with magnifying glass (with crosshairs) for viewing photos of Iraqi victims of the First Gulf War

NFS


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Memorial to the Iraqi People II-Samarra, detail with hand magnifier

floor plan of the Great Mosque of Samarra with magnifying glass (with crosshairs)

NFS


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Memorial to the Iraqi People II-Samarra, detail of faces

photographs of victims of First Gulf War

NFS


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Bãb/Gateway

plaster, glass, mixed media

H. 30" W. 18"  D. 5"

NFS


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War Memorial with Sponges

steel, ice, sponger

H. 60"  W. 8"  D.5"

$9000


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Treasures That Rust

steel, ice, glass, rusted water

H. 5'  W. 14"  D. 14"

$11,000


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Treasures That Rust, detail

steel, ice, glass, rusted water

$11,000


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Wood and Blood

red glass, wood, copper

H. 38"  W. 7"  D. 4"

NFS


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Who Decides Who Gets to Di(n)e

cotton, graphite, charcoal, installation dimensions vary

4 full size sheets

$24,000 - 4-sheet/4table installation

Overhead-rows of bed sheets with drawings of warplanes; below each sheet-a dining table 4 inches from the ground dressed with a white linen cloth.

To read the entire Who Gets to Di(n)e? – Artist Statement - click here

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Who Decides Who Gets to Di(n)e  jet 1 of 4 (sheets)

cotton, graphite, charcoal

full size sheet

$24,000 - 4-sheet/4table installation


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Who Decides Who Gets to Di(n)e

cotton, graphite, charcoal

standard pillowcases

$24,000 - 4-sheet/4table installation


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Who Decides Who Gets to Di(n)e

wood, linen, eating utensils

H. 20"  W. 36"  L. 96"

$24,000 - 4-sheet/4table installation


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Who Decides Who Gets to Di(n)e (cake on table)

medical gauze, plaster, skewers, linen, wood

H. 20"  W. 36"  L. 96"

$24,000 - 4-sheet/4table installation


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Who Decides Who Gets to Di(n)e (cake frosting)

medical gauze, plaster, skewers, linen, wood

$24,000 - 4-sheet/4table installation


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Who Decides Who Gets to Di(n)e (cake "candles" detail)

medical gauze, plaster, skewers, linen, wood

$24,000 - 4-sheet/4table installation


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Embargo Against Cubans

cotton pillowcase, ink, medical and other items forbidden to ship by the embargo

dimensions variable

$6900 - reconstructed with some original parts


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A True History of Rhode Island
(slave trade forts, Africa)

tree, canvas, acrylic, rope

H. 108" (9')  W. 82"  D. 4"

Price On Request - reliant on situation


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A True History of Rhode Island   (John Brown House - Providence, RI; Rum Barrel Trade equivalents)

tree, canvas, acrylic, rope

H. 168" (14')  W. 120" (10')  D. 5"

Price On Request - reliant on situation


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A True History of Rhode Island   (Langston Hughes Poem; I,Too; Explanatory Text)

tree, canvas, acrylic, rope

H. 180" (15')  W. 144" (12')  D. 5.5"

Price On Request - reliant on situation


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A True History of Rhode Island (overview of 13 ship sails)

tree, canvas, acrylic, rope

appx. 1,000 square feet installation

Price On Request - reliant on situation