Shelf Objects 1, 2012. Acrylic paint, Legos, and acrylite and photo-transfers on acrylate, 60 x 48 in.

Installation view of Counter Nature Shelf Objects (9, 10), 2010, acrylic on 7-inch Plexiglas cubes and books on a 36-inch wide shelf.

Books:

Carl Sauer, Sixteenth Century North America, University of California Press, London (1971).

Donna Haraway, Crystals, Fabrics, and Fields, North Atlantic Books (1997).

Stuart Hampshire, Innocence and Experience, Harvard (1991).

Wiebe E. Bijker, Of Bicycles, Bakelites, and Bulbs, MIT Press (1997).

Paul Virilio, The Accident of Art, Semiotext(e), New York (2005).

Joseph Whitehouse, The Definitive Journals of Lewis and Clark, University of Nebraska Press (2003).

Bookends Set 4, 2014. Acrylic on two 7-inch Plexiglas cubes and five books on a 36-inch wide shelf.

The Bookend Sets comprise stenciled paintings of scenes from Fahrenheit 451 on the face and adjacent sides of 7-inch Plexiglas cubes arranged as bookends for selected books on wall-mounted shelves. These are attempts to compose the strangely self-aware moments in the film while positing ambiguity over whether the books in each arrangement are chosen for its cover or content.

Books:

Chris Kraus, Where Art Belongs, Semiotexte (2011).

John Muir, All the World Over, Sierra Club (1996).

John Muir, Mountaineering Essays, Peregrine Smith Books (1984).

Joseph Conrad, Tales of Unrest, Penguin Modern Classics (1977).

R.D. Laing, The Politics of Experience, Pantheon (1967).

Bookends Set 3, 2014. Acrylic on two 7-inch Plexiglas cubes and four books on a 36-inch wide shelf.

Books:

Magnus Magnusson and Hermann Palsson, Njal’s Saga, Penguin Classics (1964).

Isak Dinesen, Winter’s Tales, Vintage Books (1961).

Herodotus, The Persian Wars, Modern Library (1942).

T.S. Eliot, The Waste Land and Other Poems, Harvest Book (1962).

Installation view of Composition, 2015. Reverse painted acrylic on 8 x 10 in. sheets of glass. Margaret Thatcher Projects, New York, New York.

Covers 13-27 are images of Penguin Book covers published between 1937 and 1982, excluding both text and representational imagery.

Installation view from solo exhibition Composition. Bookcase, 2014.  Margaret Thatcher Projects, New York, New York.

The Bookcase series depicts books on shelves from various sources, brought together to position the viewer against a hypothetical collection purposed for collective rather than individual reading, with the idea that display has its own legibility and meaning. Each panel, varying in size from 7 x 7 in. to 7 x 21 in., is reverse painted with acrylic on sheets of Plexiglas.

Counter Nature 1, 2008. Reverse painted acrylic on polycarbonate, 36 x 48 in.

The three-part series, Counter Nature, explores how landscape images, in packaging the experience of nature, deactivate our looking and respond to our anticipated experience of the landscape as an image. Following the notion of landscape as a culturally determined designation, the viewer is asked to take part in the reconstruction of these landscapes in an indeterminate space, where both the elements of the landscape and picture plane itself are in play, simultaneously projecting toward and receding away from the viewer.

Counter Nature 3 (set 1), 2011. Acrylic and transfer on acrylic 2.5-inch cubes.

A set of 12 cubes arranged like a game of block puzzle, whose composite image reveals the nature of the event in the paintings of Counter Nature 3 series.

Counter Nature-JH1, 2011. Reverse painted acrylic on Plexiglas, three panels, 36 x 84 in.