A new series of over-painted photos, titled Exposed Icons, expands the exploration of light and material into conceptually new territory. The subject of the photographs is advertising billboards; Girardoni collects images of billboards in urban and rural settings and exposes their hidden, mostly unseen side, subverting advertising’s role as contemporary iconography. He reveals their structure by photo-graphing the billboards from behind, or documenting them during the transient state when they are blank. The artist first overlays multiple exposures of the same billboard, and then systematically builds and un-builds each work by digitally deconstructing and physically over-painting the photograph. These works question the integrity of the photograph as a carrier of archived information by manipulating their content; image sections are removed, replaced with "digital pigment," and juxtaposed to the material paint applied over the photograph. The paint on top of the image — which the artist refers to as “flat sculpture” — functions in physical space and is in direct dialogue with adjacent, digitally altered information, blurring the boundary between virtual and material content. By bridging the two, the virtual information of the photograph and the physical structure of the paint are compressed into a single pictorial architecture. The artist removes and conceals areas of each image, while leaving other parts open, suspending the work in a constant shift between what is perceived as virtual and what is perceived as real, what is present and what is absent, and what is and is not the subject. The work’s center remains undisclosed, engaging the viewer with the task of completing it.

A new series of over-painted photos, titled Exposed Icons, expands the exploration of light and material into conceptually new territory. The subject of the photographs is advertising billboards; Girardoni collects images of billboards in urban and rural settings and exposes their hidden, mostly unseen side, subverting advertising’s role as contemporary iconography. He reveals their structure by photo-graphing the billboards from behind, or documenting them during the transient state when they are blank. The artist first overlays multiple exposures of the same billboard, and then systematically builds and un-builds each work by digitally deconstructing and physically over-painting the photograph. These works question the integrity of the photograph as a carrier of archived information by manipulating their content; image sections are removed, replaced with "digital pigment," and juxtaposed to the material paint applied over the photograph. The paint on top of the image — which the artist refers to as “flat sculpture” — functions in physical space and is in direct dialogue with adjacent, digitally altered information, blurring the boundary between virtual and material content. By bridging the two, the virtual information of the photograph and the physical structure of the paint are compressed into a single pictorial architecture. The artist removes and conceals areas of each image, while leaving other parts open, suspending the work in a constant shift between what is perceived as virtual and what is perceived as real, what is present and what is absent, and what is and is not the subject. The work’s center remains undisclosed, engaging the viewer with the task of completing it.

A new series of over-painted photos, titled Exposed Icons, expands the exploration of light and material into conceptually new territory. The subject of the photographs is advertising billboards; Girardoni collects images of billboards in urban and rural settings and exposes their hidden, mostly unseen side, subverting advertising’s role as contemporary iconography. He reveals their structure by photo-graphing the billboards from behind, or documenting them during the transient state when they are blank. The artist first overlays multiple exposures of the same billboard, and then systematically builds and un-builds each work by digitally deconstructing and physically over-painting the photograph. These works question the integrity of the photograph as a carrier of archived information by manipulating their content; image sections are removed, replaced with "digital pigment," and juxtaposed to the material paint applied over the photograph. The paint on top of the image — which the artist refers to as “flat sculpture” — functions in physical space and is in direct dialogue with adjacent, digitally altered information, blurring the boundary between virtual and material content. By bridging the two, the virtual information of the photograph and the physical structure of the paint are compressed into a single pictorial architecture. The artist removes and conceals areas of each image, while leaving other parts open, suspending the work in a constant shift between what is perceived as virtual and what is perceived as real, what is present and what is absent, and what is and is not the subject. The work’s center remains undisclosed, engaging the viewer with the task of completing it.

A new series of over-painted photos, titled Exposed Icons, expands the exploration of light and material into conceptually new territory. The subject of the photographs is advertising billboards; Girardoni collects images of billboards in urban and rural settings and exposes their hidden, mostly unseen side, subverting advertising’s role as contemporary iconography. He reveals their structure by photo-graphing the billboards from behind, or documenting them during the transient state when they are blank. The artist first overlays multiple exposures of the same billboard, and then systematically builds and un-builds each work by digitally deconstructing and physically over-painting the photograph. These works question the integrity of the photograph as a carrier of archived information by manipulating their content; image sections are removed, replaced with "digital pigment," and juxtaposed to the material paint applied over the photograph. The paint on top of the image — which the artist refers to as “flat sculpture” — functions in physical space and is in direct dialogue with adjacent, digitally altered information, blurring the boundary between virtual and material content. By bridging the two, the virtual information of the photograph and the physical structure of the paint are compressed into a single pictorial architecture. The artist removes and conceals areas of each image, while leaving other parts open, suspending the work in a constant shift between what is perceived as virtual and what is perceived as real, what is present and what is absent, and what is and is not the subject. The work’s center remains undisclosed, engaging the viewer with the task of completing it.

A new series of over-painted photos, titled Exposed Icons, expands the exploration of light and material into conceptually new territory. The subject of the photographs is advertising billboards; Girardoni collects images of billboards in urban and rural settings and exposes their hidden, mostly unseen side, subverting advertising’s role as contemporary iconography. He reveals their structure by photo-graphing the billboards from behind, or documenting them during the transient state when they are blank. The artist first overlays multiple exposures of the same billboard, and then systematically builds and un-builds each work by digitally deconstructing and physically over-painting the photograph. These works question the integrity of the photograph as a carrier of archived information by manipulating their content; image sections are removed, replaced with "digital pigment," and juxtaposed to the material paint applied over the photograph. The paint on top of the image — which the artist refers to as “flat sculpture” — functions in physical space and is in direct dialogue with adjacent, digitally altered information, blurring the boundary between virtual and material content. By bridging the two, the virtual information of the photograph and the physical structure of the paint are compressed into a single pictorial architecture. The artist removes and conceals areas of each image, while leaving other parts open, suspending the work in a constant shift between what is perceived as virtual and what is perceived as real, what is present and what is absent, and what is and is not the subject. The work’s center remains undisclosed, engaging the viewer with the task of completing it.

A new series of over-painted photos, titled Exposed Icons, expands the exploration of light and material into conceptually new territory. The subject of the photographs is advertising billboards; Girardoni collects images of billboards in urban and rural settings and exposes their hidden, mostly unseen side, subverting advertising’s role as contemporary iconography. He reveals their structure by photo-graphing the billboards from behind, or documenting them during the transient state when they are blank. The artist first overlays multiple exposures of the same billboard, and then systematically builds and un-builds each work by digitally deconstructing and physically over-painting the photograph. These works question the integrity of the photograph as a carrier of archived information by manipulating their content; image sections are removed, replaced with "digital pigment," and juxtaposed to the material paint applied over the photograph. The paint on top of the image — which the artist refers to as “flat sculpture” — functions in physical space and is in direct dialogue with adjacent, digitally altered information, blurring the boundary between virtual and material content. By bridging the two, the virtual information of the photograph and the physical structure of the paint are compressed into a single pictorial architecture. The artist removes and conceals areas of each image, while leaving other parts open, suspending the work in a constant shift between what is perceived as virtual and what is perceived as real, what is present and what is absent, and what is and is not the subject. The work’s center remains undisclosed, engaging the viewer with the task of completing it.

A new series of over-painted photos, titled Exposed Icons, expands the exploration of light and material into conceptually new territory. The subject of the photographs is advertising billboards; Girardoni collects images of billboards in urban and rural settings and exposes their hidden, mostly unseen side, subverting advertising’s role as contemporary iconography. He reveals their structure by photo-graphing the billboards from behind, or documenting them during the transient state when they are blank. The artist first overlays multiple exposures of the same billboard, and then systematically builds and un-builds each work by digitally deconstructing and physically over-painting the photograph. These works question the integrity of the photograph as a carrier of archived information by manipulating their content; image sections are removed, replaced with "digital pigment," and juxtaposed to the material paint applied over the photograph. The paint on top of the image — which the artist refers to as “flat sculpture” — functions in physical space and is in direct dialogue with adjacent, digitally altered information, blurring the boundary between virtual and material content. By bridging the two, the virtual information of the photograph and the physical structure of the paint are compressed into a single pictorial architecture. The artist removes and conceals areas of each image, while leaving other parts open, suspending the work in a constant shift between what is perceived as virtual and what is perceived as real, what is present and what is absent, and what is and is not the subject. The work’s center remains undisclosed, engaging the viewer with the task of completing it.

A new series of over-painted photos, titled Exposed Icons, expands the exploration of light and material into conceptually new territory. The subject of the photographs is advertising billboards; Girardoni collects images of billboards in urban and rural settings and exposes their hidden, mostly unseen side, subverting advertising’s role as contemporary iconography. He reveals their structure by photo-graphing the billboards from behind, or documenting them during the transient state when they are blank. The artist first overlays multiple exposures of the same billboard, and then systematically builds and un-builds each work by digitally deconstructing and physically over-painting the photograph. These works question the integrity of the photograph as a carrier of archived information by manipulating their content; image sections are removed, replaced with "digital pigment," and juxtaposed to the material paint applied over the photograph. The paint on top of the image — which the artist refers to as “flat sculpture” — functions in physical space and is in direct dialogue with adjacent, digitally altered information, blurring the boundary between virtual and material content. By bridging the two, the virtual information of the photograph and the physical structure of the paint are compressed into a single pictorial architecture. The artist removes and conceals areas of each image, while leaving other parts open, suspending the work in a constant shift between what is perceived as virtual and what is perceived as real, what is present and what is absent, and what is and is not the subject. The work’s center remains undisclosed, engaging the viewer with the task of completing it.

A new series of over-painted photos, titled Exposed Icons, expands the exploration of light and material into conceptually new territory. The subject of the photographs is advertising billboards; Girardoni collects images of billboards in urban and rural settings and exposes their hidden, mostly unseen side, subverting advertising’s role as contemporary iconography. He reveals their structure by photo-graphing the billboards from behind, or documenting them during the transient state when they are blank. The artist first overlays multiple exposures of the same billboard, and then systematically builds and un-builds each work by digitally deconstructing and physically over-painting the photograph. These works question the integrity of the photograph as a carrier of archived information by manipulating their content; image sections are removed, replaced with "digital pigment," and juxtaposed to the material paint applied over the photograph. The paint on top of the image — which the artist refers to as “flat sculpture” — functions in physical space and is in direct dialogue with adjacent, digitally altered information, blurring the boundary between virtual and material content. By bridging the two, the virtual information of the photograph and the physical structure of the paint are compressed into a single pictorial architecture. The artist removes and conceals areas of each image, while leaving other parts open, suspending the work in a constant shift between what is perceived as virtual and what is perceived as real, what is present and what is absent, and what is and is not the subject. The work’s center remains undisclosed, engaging the viewer with the task of completing it.

A new series of over-painted photos, titled Exposed Icons, expands the exploration of light and material into conceptually new territory. The subject of the photographs is advertising billboards; Girardoni collects images of billboards in urban and rural settings and exposes their hidden, mostly unseen side, subverting advertising’s role as contemporary iconography. He reveals their structure by photo-graphing the billboards from behind, or documenting them during the transient state when they are blank. The artist first overlays multiple exposures of the same billboard, and then systematically builds and un-builds each work by digitally deconstructing and physically over-painting the photograph. These works question the integrity of the photograph as a carrier of archived information by manipulating their content; image sections are removed, replaced with "digital pigment," and juxtaposed to the material paint applied over the photograph. The paint on top of the image — which the artist refers to as “flat sculpture” — functions in physical space and is in direct dialogue with adjacent, digitally altered information, blurring the boundary between virtual and material content. By bridging the two, the virtual information of the photograph and the physical structure of the paint are compressed into a single pictorial architecture. The artist removes and conceals areas of each image, while leaving other parts open, suspending the work in a constant shift between what is perceived as virtual and what is perceived as real, what is present and what is absent, and what is and is not the subject. The work’s center remains undisclosed, engaging the viewer with the task of completing it.

A new series of over-painted photos, titled Exposed Icons, expands the exploration of light and material into conceptually new territory. The subject of the photographs is advertising billboards; Girardoni collects images of billboards in urban and rural settings and exposes their hidden, mostly unseen side, subverting advertising’s role as contemporary iconography. He reveals their structure by photo-graphing the billboards from behind, or documenting them during the transient state when they are blank. The artist first overlays multiple exposures of the same billboard, and then systematically builds and un-builds each work by digitally deconstructing and physically over-painting the photograph. These works question the integrity of the photograph as a carrier of archived information by manipulating their content; image sections are removed, replaced with "digital pigment," and juxtaposed to the material paint applied over the photograph. The paint on top of the image — which the artist refers to as “flat sculpture” — functions in physical space and is in direct dialogue with adjacent, digitally altered information, blurring the boundary between virtual and material content. By bridging the two, the virtual information of the photograph and the physical structure of the paint are compressed into a single pictorial architecture. The artist removes and conceals areas of each image, while leaving other parts open, suspending the work in a constant shift between what is perceived as virtual and what is perceived as real, what is present and what is absent, and what is and is not the subject. The work’s center remains undisclosed, engaging the viewer with the task of completing it.

A new series of over-painted photos, titled Exposed Icons, expands the exploration of light and material into conceptually new territory. The subject of the photographs is advertising billboards; Girardoni collects images of billboards in urban and rural settings and exposes their hidden, mostly unseen side, subverting advertising’s role as contemporary iconography. He reveals their structure by photo-graphing the billboards from behind, or documenting them during the transient state when they are blank. The artist first overlays multiple exposures of the same billboard, and then systematically builds and un-builds each work by digitally deconstructing and physically over-painting the photograph. These works question the integrity of the photograph as a carrier of archived information by manipulating their content; image sections are removed, replaced with "digital pigment," and juxtaposed to the material paint applied over the photograph. The paint on top of the image — which the artist refers to as “flat sculpture” — functions in physical space and is in direct dialogue with adjacent, digitally altered information, blurring the boundary between virtual and material content. By bridging the two, the virtual information of the photograph and the physical structure of the paint are compressed into a single pictorial architecture. The artist removes and conceals areas of each image, while leaving other parts open, suspending the work in a constant shift between what is perceived as virtual and what is perceived as real, what is present and what is absent, and what is and is not the subject. The work’s center remains undisclosed, engaging the viewer with the task of completing it.

A new series of over-painted photos, titled Exposed Icons, expands the exploration of light and material into conceptually new territory. The subject of the photographs is advertising billboards; Girardoni collects images of billboards in urban and rural settings and exposes their hidden, mostly unseen side, subverting advertising’s role as contemporary iconography. He reveals their structure by photo-graphing the billboards from behind, or documenting them during the transient state when they are blank. The artist first overlays multiple exposures of the same billboard, and then systematically builds and un-builds each work by digitally deconstructing and physically over-painting the photograph. These works question the integrity of the photograph as a carrier of archived information by manipulating their content; image sections are removed, replaced with "digital pigment," and juxtaposed to the material paint applied over the photograph. The paint on top of the image — which the artist refers to as “flat sculpture” — functions in physical space and is in direct dialogue with adjacent, digitally altered information, blurring the boundary between virtual and material content. By bridging the two, the virtual information of the photograph and the physical structure of the paint are compressed into a single pictorial architecture. The artist removes and conceals areas of each image, while leaving other parts open, suspending the work in a constant shift between what is perceived as virtual and what is perceived as real, what is present and what is absent, and what is and is not the subject. The work’s center remains undisclosed, engaging the viewer with the task of completing it.

A new series of over-painted photos, titled Exposed Icons, expands the exploration of light and material into conceptually new territory. The subject of the photographs is advertising billboards; Girardoni collects images of billboards in urban and rural settings and exposes their hidden, mostly unseen side, subverting advertising’s role as contemporary iconography. He reveals their structure by photo-graphing the billboards from behind, or documenting them during the transient state when they are blank. The artist first overlays multiple exposures of the same billboard, and then systematically builds and un-builds each work by digitally deconstructing and physically over-painting the photograph. These works question the integrity of the photograph as a carrier of archived information by manipulating their content; image sections are removed, replaced with "digital pigment," and juxtaposed to the material paint applied over the photograph. The paint on top of the image — which the artist refers to as “flat sculpture” — functions in physical space and is in direct dialogue with adjacent, digitally altered information, blurring the boundary between virtual and material content. By bridging the two, the virtual information of the photograph and the physical structure of the paint are compressed into a single pictorial architecture. The artist removes and conceals areas of each image, while leaving other parts open, suspending the work in a constant shift between what is perceived as virtual and what is perceived as real, what is present and what is absent, and what is and is not the subject. The work’s center remains undisclosed, engaging the viewer with the task of completing it.

A new series of over-painted photos, titled Exposed Icons, expands the exploration of light and material into conceptually new territory. The subject of the photographs is advertising billboards; Girardoni collects images of billboards in urban and rural settings and exposes their hidden, mostly unseen side, subverting advertising’s role as contemporary iconography. He reveals their structure by photo-graphing the billboards from behind, or documenting them during the transient state when they are blank. The artist first overlays multiple exposures of the same billboard, and then systematically builds and un-builds each work by digitally deconstructing and physically over-painting the photograph. These works question the integrity of the photograph as a carrier of archived information by manipulating their content; image sections are removed, replaced with "digital pigment," and juxtaposed to the material paint applied over the photograph. The paint on top of the image — which the artist refers to as “flat sculpture” — functions in physical space and is in direct dialogue with adjacent, digitally altered information, blurring the boundary between virtual and material content. By bridging the two, the virtual information of the photograph and the physical structure of the paint are compressed into a single pictorial architecture. The artist removes and conceals areas of each image, while leaving other parts open, suspending the work in a constant shift between what is perceived as virtual and what is perceived as real, what is present and what is absent, and what is and is not the subject. The work’s center remains undisclosed, engaging the viewer with the task of completing it.

The (Dis)appearance of Everything is an interactive installation that explores the convergence of physical material and light by rearticulating light as sound through Spectro-Sonic refrequencing. The installation’s architecture questions the limits of perception and activates the border area of natural phenomena and digital systems. Natural and artificial light merges inside five cast resin elements that appear to subtly shift in color and luminosity depending on the viewer’s position within the space. Two sensors, calibrated to measure both purple and daylight frequencies, drive a tone generator which converts the frequencies of light into frequencies of sound, making light audible. The sensors also register the presence of the viewer moving through the space, which additionally modulates the sound. In this set-up, virtual and physical information is processed both by the viewer and the work, further blurring the boundary between phenomenological and virtual events.

Situated on a large forested site, Johannes Girardoni’s Infinite Room is a light and sound sculpture that functions as both art and architecture. It is the result of a collaborative effort to situate Girardoni's atmospheric sculpture within the context of a building designed by architect Tom Kundig. Both architect and artist have considered the natural site as a whole, as well as the specific conditions of the sculpture and the building, to place art and architecture in a dynamic relationship to each other, as well as to the site. The project is currently in progress and scheduled to be completed 2012.

The Infinite Room was conceived as a continuously changing environment, in which natural light – the only light source for the space – falls within the room’s curvilinear geometry, appearing to dematerialize it's inner structure. The space is elliptical in plan and absent of any corner geometry. Light flows in through a circular aperture from above and refracts off the Infinite Room’s velvet smooth, white interior shell. The sculpture's inside is built with slaked like – a pure white inorganic compound – that harnesses natural light and scatters it inside the sculpture’s complex geometry, blurring the border between matter and light. At the same time, sensors measure the amount of light in the space, and rearticulate the light as physical sound by converting light waves into sound waves. Girardoni’s architecture of both natural and virtual structures, layered on top of one another, create a multi-sensory, immersive environment of phenomenological events and digital systems. Matter becomes light and light becomes sound. Ultimately, in the heart of this setting, the Infinite Room questions the border of natural and artificial phenomena.

Girardoni created the dimensional and geometric specifications of the sculpture, which Kundig then developed into architecture. Kundig designed and oversaw fabrication of the raw steel shell that forms the sculpture’s void, exposing the work’s interior in its outer form. The steel shell of the sculpture represents a singular, physical manifestation of an artist-architect collaboration, through which the artwork’s conceptual and physical structure has been realized as an architectural expression. Girardoni’s sculpture on the inside and Kundig’s architecture on the outside set up ephemeral and experiential conditions that are deliberately in opposition to one another. Kundig sourced the rough physicality of the house directly from the site’s raw nature – the dominant wall opposite the sculpture is built from stacked granite boulders collected from the site. This central spine starkly contrasts Girardoni’s pure white, light-filled space. Moving from the open setting of the natural site, through Kundig’s rugged house, and finally into the Infinite Room, which Girardoni has you enter through a low and narrow opening tightly scaled to fit a person, is a physical and mental transition, one that begs visitors to shift from reflecting on nature, to tuning in to experience the limits of one’s sensory apparatus.

The Passage Room is a site-specific light and sound installation, which investigates the boundary between manufactured states and perceptual events. It is an architectural intervention of the main exhibition hall of the Raimund Abraham designed Austrian Cultural Forum New York, a space limited by its extremely narrow footprint. The installation is devised as a metaphor for the migratory process, configured for visitors to be drawn into its center and physically move through the installation. The Passage Room creates an immersive environment by compressing physical and virtual manipulations of light and sound within a spatial setting.

The installation is devised with two offset, parallel scrim walls that intersect the space midway, perpendicularly redoubling the narrow layout of the space and compressing its focal point to a passage at its center. The translucent walls, flooded with purple light emanating from LEDs at the installation’s midpoint, forms a constricted “passage room” which stages spectators as part of the sculpture. When viewed on approach, the narrow passage gently veils its interior, revealing everything and everyone in it. However, while inside, the scrims appear as opaque fields of color and the space outside the scrims becomes obscured. Viewers become participants, and participants become performers, blurring the boundary between subject and object, seeing and being seen. Passing through the installation, visual planes open and close depending on the viewers’ position within the work, creating a constantly shifting experience. A modulating sound field, generated by the light, is superimposed onto the works layered setting. The LEDs at the center of the installation emit wavelengths of light from opposite ends of the visible spectrum — red and blue — which are experienced as purple, a non-spectral color. Based on scientific method and an algorithmic conversion, the electromagnetic waves of red and blue light are transposed onto mechanical waves of sound, rearticulating light waves into sound waves, making purple audible. The Passage Room’s physical and virtual architecture explore the limits of our sensory apparatus through an interface of digitally reconfigured information and naturally occurring perceptual phenomena.

In Front of the Plane Nr. 8 is a site-specific installation composed of approximately 1000 cast sheets of beeswax mixed with Flavanthrone, an organic pigment.

The layout of the installation is based both on the architectural set-up of the space — using it’s natural light flow as a component of the work — and on the perfectly symmetrical molecular structure of the pigment, which was documented through Raman spectroscopy during the planning process of the installation by my colleague, John Lombardi. Playing off this symmetry, the wax panels are installed on two opposing walls, mirroring each other. The wax sheets float three inches in front of the walls, each mounted individually on a nail, allowing light to pass through and behind the wax. While the installation is made with a singular pigment, the panels have distinct variations in color value. The perceived color variation in the material is caused by the irregular thickness of the panels letting different amounts of light pass through. Additionally, Flavanthrone is a highly light reactive pigment. The window frontage perpendicular to the two color fields becomes an active element as the installation’s natural and variable light source. As a result, the space is filled with color matter that shifts in hue all day, ranging from golden-orange to a greenish yellow. This light reactivity presents visitors with a work that is ever changing.

Midway through the work’s program duration, the installation is reconfigured. First, each wall is photographically documented. Then the installation is collapsed into a sculpture, stacking the wax panels on a wooden board at the center of the room. Nails in the wall remain as a physical reminder of the previous, color-loaded state. The two photographs are mounted on the empty fourth wall as re-presentations of the installation. The floor sculpture, the two photographs, and the nails are suspended in a dynamic, cross-referenced relationship. The work is re-presented as dual archive formats — as a stacked sculpture and as an image of itself.

Despite the static appearance of this piece, the installation exists in a constantly evolving state. The installation is responsive because of it's set-up in the space, as well as it's pigment’s molecular structure. The two walls create an immersive, shifting color and light environment, but one that viewers never completely observe because the two walls cannot be seen simultaneously from inside the space. This formed absence is negated when the installation is collapsed into a sculpture; the only time it can be fully taken in is as a physical archive. The two previously filled walls exist solely as a memory, which in the final stage of the piece is re-visualized through photography. As such, the center of the work remains undefined. The subject of the work is not only the architecture of the material and the installation’s structural set-up that shifts the chromatic hue of the space, but also the temporal and spatial transformation of the work as both re-imaged documentation and physically archived form.

Light Reactive Organic Sculptures comprise an extensive body of work that has evolved over the past two decades. The work focuses on reductive investigations at the intersection of sculpture and painting, and explores the continuously shifting relationship between light and material. Despite an elemental material vocabulary — found wood, beeswax and pigment — the work’s physical constellation becomes both the carrier of an explicitly painterly event, while also being the foundation of an immaterial phenomenon. The pieces are often examinations of phenomenological processes, where a hollow or empty space — a tangible emptiness — turns out to be the actual center of the work. Opposites and contradictions, as well as the complex dialectic between them, are the fundamental themes. The orchestration of material and light, presence and absence, things found and things formed, all resist clear fixation, thereby maintaining and creating works with their own non-derivable reality.

The primary material organization is found wood that forms the base for color built with pigment and beeswax. The wood is harvested from urban debris at building constructions and deconstructions, and in its worn and deteriorated condition, creates an instant history. These structures become the foundation for an architecture of color in which the material is color, and the color is material. Built by suspending varying degrees of pigment in layer over thin layer of beeswax, light travels into the wax and encircles the pigment. This results in light reactivity, and juxtaposed to the static, aged structure of the wood, the sculptures’ pigmented wax evolves and adapts to changing ambient light situations. These sculptures hold light.

Light Reactive Organic Sculptures comprise an extensive body of work that has evolved over the past two decades. The work focuses on reductive investigations at the intersection of sculpture and painting, and explores the continuously shifting relationship between light and material. Despite an elemental material vocabulary — found wood, beeswax and pigment — the work’s physical constellation becomes both the carrier of an explicitly painterly event, while also being the foundation of an immaterial phenomenon. The pieces are often examinations of phenomenological processes, where a hollow or empty space — a tangible emptiness — turns out to be the actual center of the work. Opposites and contradictions, as well as the complex dialectic between them, are the fundamental themes. The orchestration of material and light, presence and absence, things found and things formed, all resist clear fixation, thereby maintaining and creating works with their own non-derivable reality.

The primary material organization is found wood that forms the base for color built with pigment and beeswax. The wood is harvested from urban debris at building constructions and deconstructions, and in its worn and deteriorated condition, creates an instant history. These structures become the foundation for an architecture of color in which the material is color, and the color is material. Built by suspending varying degrees of pigment in layer over thin layer of beeswax, light travels into the wax and encircles the pigment. This results in light reactivity, and juxtaposed to the static, aged structure of the wood, the sculptures’ pigmented wax evolves and adapts to changing ambient light situations. These sculptures hold light.

Light Reactive Organic Sculptures comprise an extensive body of work that has evolved over the past two decades. The work focuses on reductive investigations at the intersection of sculpture and painting, and explores the continuously shifting relationship between light and material. Despite an elemental material vocabulary — found wood, beeswax and pigment — the work’s physical constellation becomes both the carrier of an explicitly painterly event, while also being the foundation of an immaterial phenomenon. The pieces are often examinations of phenomenological processes, where a hollow or empty space — a tangible emptiness — turns out to be the actual center of the work. Opposites and contradictions, as well as the complex dialectic between them, are the fundamental themes. The orchestration of material and light, presence and absence, things found and things formed, all resist clear fixation, thereby maintaining and creating works with their own non-derivable reality.

The primary material organization is found wood that forms the base for color built with pigment and beeswax. The wood is harvested from urban debris at building constructions and deconstructions, and in its worn and deteriorated condition, creates an instant history. These structures become the foundation for an architecture of color in which the material is color, and the color is material. Built by suspending varying degrees of pigment in layer over thin layer of beeswax, light travels into the wax and encircles the pigment. This results in light reactivity, and juxtaposed to the static, aged structure of the wood, the sculptures’ pigmented wax evolves and adapts to changing ambient light situations. These sculptures hold light.

Light Reactive Organic Sculptures comprise an extensive body of work that has evolved over the past two decades. The work focuses on reductive investigations at the intersection of sculpture and painting, and explores the continuously shifting relationship between light and material. Despite an elemental material vocabulary — found wood, beeswax and pigment — the work’s physical constellation becomes both the carrier of an explicitly painterly event, while also being the foundation of an immaterial phenomenon. The pieces are often examinations of phenomenological processes, where a hollow or empty space — a tangible emptiness — turns out to be the actual center of the work. Opposites and contradictions, as well as the complex dialectic between them, are the fundamental themes. The orchestration of material and light, presence and absence, things found and things formed, all resist clear fixation, thereby maintaining and creating works with their own non-derivable reality.

The primary material organization is found wood that forms the base for color built with pigment and beeswax. The wood is harvested from urban debris at building constructions and deconstructions, and in its worn and deteriorated condition, creates an instant history. These structures become the foundation for an architecture of color in which the material is color, and the color is material. Built by suspending varying degrees of pigment in layer over thin layer of beeswax, light travels into the wax and encircles the pigment. This results in light reactivity, and juxtaposed to the static, aged structure of the wood, the sculptures’ pigmented wax evolves and adapts to changing ambient light situations. These sculptures hold light.

Light Reactive Organic Sculptures comprise an extensive body of work that has evolved over the past two decades. The work focuses on reductive investigations at the intersection of sculpture and painting, and explores the continuously shifting relationship between light and material. Despite an elemental material vocabulary — found wood, beeswax and pigment — the work’s physical constellation becomes both the carrier of an explicitly painterly event, while also being the foundation of an immaterial phenomenon. The pieces are often examinations of phenomenological processes, where a hollow or empty space — a tangible emptiness — turns out to be the actual center of the work. Opposites and contradictions, as well as the complex dialectic between them, are the fundamental themes. The orchestration of material and light, presence and absence, things found and things formed, all resist clear fixation, thereby maintaining and creating works with their own non-derivable reality.

The primary material organization is found wood that forms the base for color built with pigment and beeswax. The wood is harvested from urban debris at building constructions and deconstructions, and in its worn and deteriorated condition, creates an instant history. These structures become the foundation for an architecture of color in which the material is color, and the color is material. Built by suspending varying degrees of pigment in layer over thin layer of beeswax, light travels into the wax and encircles the pigment. This results in light reactivity, and juxtaposed to the static, aged structure of the wood, the sculptures’ pigmented wax evolves and adapts to changing ambient light situations. These sculptures hold light.

Light Reactive Organic Sculptures comprise an extensive body of work that has evolved over the past two decades. The work focuses on reductive investigations at the intersection of sculpture and painting, and explores the continuously shifting relationship between light and material. Despite an elemental material vocabulary — found wood, beeswax and pigment — the work’s physical constellation becomes both the carrier of an explicitly painterly event, while also being the foundation of an immaterial phenomenon. The pieces are often examinations of phenomenological processes, where a hollow or empty space — a tangible emptiness — turns out to be the actual center of the work. Opposites and contradictions, as well as the complex dialectic between them, are the fundamental themes. The orchestration of material and light, presence and absence, things found and things formed, all resist clear fixation, thereby maintaining and creating works with their own non-derivable reality.

The primary material organization is found wood that forms the base for color built with pigment and beeswax. The wood is harvested from urban debris at building constructions and deconstructions, and in its worn and deteriorated condition, creates an instant history. These structures become the foundation for an architecture of color in which the material is color, and the color is material. Built by suspending varying degrees of pigment in layer over thin layer of beeswax, light travels into the wax and encircles the pigment. This results in light reactivity, and juxtaposed to the static, aged structure of the wood, the sculptures’ pigmented wax evolves and adapts to changing ambient light situations. These sculptures hold light.

Light Reactive Organic Sculptures comprise an extensive body of work that has evolved over the past two decades. The work focuses on reductive investigations at the intersection of sculpture and painting, and explores the continuously shifting relationship between light and material. Despite an elemental material vocabulary — found wood, beeswax and pigment — the work’s physical constellation becomes both the carrier of an explicitly painterly event, while also being the foundation of an immaterial phenomenon. The pieces are often examinations of phenomenological processes, where a hollow or empty space — a tangible emptiness — turns out to be the actual center of the work. Opposites and contradictions, as well as the complex dialectic between them, are the fundamental themes. The orchestration of material and light, presence and absence, things found and things formed, all resist clear fixation, thereby maintaining and creating works with their own non-derivable reality.

The primary material organization is found wood that forms the base for color built with pigment and beeswax. The wood is harvested from urban debris at building constructions and deconstructions, and in its worn and deteriorated condition, creates an instant history. These structures become the foundation for an architecture of color in which the material is color, and the color is material. Built by suspending varying degrees of pigment in layer over thin layer of beeswax, light travels into the wax and encircles the pigment. This results in light reactivity, and juxtaposed to the static, aged structure of the wood, the sculptures’ pigmented wax evolves and adapts to changing ambient light situations. These sculptures hold light.

Light Reactive Organic Sculptures comprise an extensive body of work that has evolved over the past two decades. The work focuses on reductive investigations at the intersection of sculpture and painting, and explores the continuously shifting relationship between light and material. Despite an elemental material vocabulary — found wood, beeswax and pigment — the work’s physical constellation becomes both the carrier of an explicitly painterly event, while also being the foundation of an immaterial phenomenon. The pieces are often examinations of phenomenological processes, where a hollow or empty space — a tangible emptiness — turns out to be the actual center of the work. Opposites and contradictions, as well as the complex dialectic between them, are the fundamental themes. The orchestration of material and light, presence and absence, things found and things formed, all resist clear fixation, thereby maintaining and creating works with their own non-derivable reality.

The primary material organization is found wood that forms the base for color built with pigment and beeswax. The wood is harvested from urban debris at building constructions and deconstructions, and in its worn and deteriorated condition, creates an instant history. These structures become the foundation for an architecture of color in which the material is color, and the color is material. Built by suspending varying degrees of pigment in layer over thin layer of beeswax, light travels into the wax and encircles the pigment. This results in light reactivity, and juxtaposed to the static, aged structure of the wood, the sculptures’ pigmented wax evolves and adapts to changing ambient light situations. These sculptures hold light.

Light Reactive Organic Sculptures comprise an extensive body of work that has evolved over the past two decades. The work focuses on reductive investigations at the intersection of sculpture and painting, and explores the continuously shifting relationship between light and material. Despite an elemental material vocabulary — found wood, beeswax and pigment — the work’s physical constellation becomes both the carrier of an explicitly painterly event, while also being the foundation of an immaterial phenomenon. The pieces are often examinations of phenomenological processes, where a hollow or empty space — a tangible emptiness — turns out to be the actual center of the work. Opposites and contradictions, as well as the complex dialectic between them, are the fundamental themes. The orchestration of material and light, presence and absence, things found and things formed, all resist clear fixation, thereby maintaining and creating works with their own non-derivable reality.

The primary material organization is found wood that forms the base for color built with pigment and beeswax. The wood is harvested from urban debris at building constructions and deconstructions, and in its worn and deteriorated condition, creates an instant history. These structures become the foundation for an architecture of color in which the material is color, and the color is material. Built by suspending varying degrees of pigment in layer over thin layer of beeswax, light travels into the wax and encircles the pigment. This results in light reactivity, and juxtaposed to the static, aged structure of the wood, the sculptures’ pigmented wax evolves and adapts to changing ambient light situations. These sculptures hold light.

Light Reactive Organic Sculptures comprise an extensive body of work that has evolved over the past two decades. The work focuses on reductive investigations at the intersection of sculpture and painting, and explores the continuously shifting relationship between light and material. Despite an elemental material vocabulary — found wood, beeswax and pigment — the work’s physical constellation becomes both the carrier of an explicitly painterly event, while also being the foundation of an immaterial phenomenon. The pieces are often examinations of phenomenological processes, where a hollow or empty space — a tangible emptiness — turns out to be the actual center of the work. Opposites and contradictions, as well as the complex dialectic between them, are the fundamental themes. The orchestration of material and light, presence and absence, things found and things formed, all resist clear fixation, thereby maintaining and creating works with their own non-derivable reality.

The primary material organization is found wood that forms the base for color built with pigment and beeswax. The wood is harvested from urban debris at building constructions and deconstructions, and in its worn and deteriorated condition, creates an instant history. These structures become the foundation for an architecture of color in which the material is color, and the color is material. Built by suspending varying degrees of pigment in layer over thin layer of beeswax, light travels into the wax and encircles the pigment. This results in light reactivity, and juxtaposed to the static, aged structure of the wood, the sculptures’ pigmented wax evolves and adapts to changing ambient light situations. These sculptures hold light.

Light Reactive Organic Sculptures comprise an extensive body of work that has evolved over the past two decades. The work focuses on reductive investigations at the intersection of sculpture and painting, and explores the continuously shifting relationship between light and material. Despite an elemental material vocabulary — found wood, beeswax and pigment — the work’s physical constellation becomes both the carrier of an explicitly painterly event, while also being the foundation of an immaterial phenomenon. The pieces are often examinations of phenomenological processes, where a hollow or empty space — a tangible emptiness — turns out to be the actual center of the work. Opposites and contradictions, as well as the complex dialectic between them, are the fundamental themes. The orchestration of material and light, presence and absence, things found and things formed, all resist clear fixation, thereby maintaining and creating works with their own non-derivable reality.

The primary material organization is found wood that forms the base for color built with pigment and beeswax. The wood is harvested from urban debris at building constructions and deconstructions, and in its worn and deteriorated condition, creates an instant history. These structures become the foundation for an architecture of color in which the material is color, and the color is material. Built by suspending varying degrees of pigment in layer over thin layer of beeswax, light travels into the wax and encircles the pigment. This results in light reactivity, and juxtaposed to the static, aged structure of the wood, the sculptures’ pigmented wax evolves and adapts to changing ambient light situations. These sculptures hold light.

Light Reactive Organic Sculptures comprise an extensive body of work that has evolved over the past two decades. The work focuses on reductive investigations at the intersection of sculpture and painting, and explores the continuously shifting relationship between light and material. Despite an elemental material vocabulary — found wood, beeswax and pigment — the work’s physical constellation becomes both the carrier of an explicitly painterly event, while also being the foundation of an immaterial phenomenon. The pieces are often examinations of phenomenological processes, where a hollow or empty space — a tangible emptiness — turns out to be the actual center of the work. Opposites and contradictions, as well as the complex dialectic between them, are the fundamental themes. The orchestration of material and light, presence and absence, things found and things formed, all resist clear fixation, thereby maintaining and creating works with their own non-derivable reality.

The primary material organization is found wood that forms the base for color built with pigment and beeswax. The wood is harvested from urban debris at building constructions and deconstructions, and in its worn and deteriorated condition, creates an instant history. These structures become the foundation for an architecture of color in which the material is color, and the color is material. Built by suspending varying degrees of pigment in layer over thin layer of beeswax, light travels into the wax and encircles the pigment. This results in light reactivity, and juxtaposed to the static, aged structure of the wood, the sculptures’ pigmented wax evolves and adapts to changing ambient light situations. These sculptures hold light.

Light Reactive Organic Sculptures comprise an extensive body of work that has evolved over the past two decades. The work focuses on reductive investigations at the intersection of sculpture and painting, and explores the continuously shifting relationship between light and material. Despite an elemental material vocabulary — found wood, beeswax and pigment — the work’s physical constellation becomes both the carrier of an explicitly painterly event, while also being the foundation of an immaterial phenomenon. The pieces are often examinations of phenomenological processes, where a hollow or empty space — a tangible emptiness — turns out to be the actual center of the work. Opposites and contradictions, as well as the complex dialectic between them, are the fundamental themes. The orchestration of material and light, presence and absence, things found and things formed, all resist clear fixation, thereby maintaining and creating works with their own non-derivable reality.

The primary material organization is found wood that forms the base for color built with pigment and beeswax. The wood is harvested from urban debris at building constructions and deconstructions, and in its worn and deteriorated condition, creates an instant history. These structures become the foundation for an architecture of color in which the material is color, and the color is material. Built by suspending varying degrees of pigment in layer over thin layer of beeswax, light travels into the wax and encircles the pigment. This results in light reactivity, and juxtaposed to the static, aged structure of the wood, the sculptures’ pigmented wax evolves and adapts to changing ambient light situations. These sculptures hold light.

Light Reactive Organic Sculptures comprise an extensive body of work that has evolved over the past two decades. The work focuses on reductive investigations at the intersection of sculpture and painting, and explores the continuously shifting relationship between light and material. Despite an elemental material vocabulary — found wood, beeswax and pigment — the work’s physical constellation becomes both the carrier of an explicitly painterly event, while also being the foundation of an immaterial phenomenon. The pieces are often examinations of phenomenological processes, where a hollow or empty space — a tangible emptiness — turns out to be the actual center of the work. Opposites and contradictions, as well as the complex dialectic between them, are the fundamental themes. The orchestration of material and light, presence and absence, things found and things formed, all resist clear fixation, thereby maintaining and creating works with their own non-derivable reality.

The primary material organization is found wood that forms the base for color built with pigment and beeswax. The wood is harvested from urban debris at building constructions and deconstructions, and in its worn and deteriorated condition, creates an instant history. These structures become the foundation for an architecture of color in which the material is color, and the color is material. Built by suspending varying degrees of pigment in layer over thin layer of beeswax, light travels into the wax and encircles the pigment. This results in light reactivity, and juxtaposed to the static, aged structure of the wood, the sculptures’ pigmented wax evolves and adapts to changing ambient light situations. These sculptures hold light.