"This house has good bones," is a phrase often used when describing the quality of a structure. Together as a whole, these "bones" and other materials create an identifiable place, identified by an address. But when deconstructed, they lose their identity, much as a human skeleton is recognizable, but the identity of the person who once was, is not. I am fascinated by ashen human shapes of the occupants of Herculaneum and Pompeii. These human shapes, absent of individual identity, remind us of the tragic events of that day in AD 79.
For some time I have been interested in structures that are either being leveled or altered to meet the economic wave rippling through many towns and cities. I am interested in documenting this change by preserving and resurrecting the bones of some of those structures. My intention is not to condone or condemn but rather to document and preserve through artistic means (2D and 3D works) places that have lost their original identity.
Much like Duchamp's Readymades, these "Readyunmades" will retain and leave in place much of the materials original to their creation and destruction: the carpenter's measured graphite marks and the tortured nails and cut portions of their undoing. The individual boards are selected for the nature of their being. My process attempts to restore the balance that exists within each element of the material.