Making Sense, 2015, installation, Bolsky Gallery, Los Angeles, CA. Text, materials, video documentation, poem and translation.





Nautical Twilight
450nm of Tokyo blue photography gel
dimensions variable


Salt of the Earth 
100kg of Mediterranean sea salt
dimensions variable


30seconds of Lake Michigan
film photographs printed as digital negative triptych
33.02cm x 48.26cm ea.


35mm photograph of Nordic stream water
101.6cm x 304.8cm


Sage Cypress
29.57ml of essential oil
dimensions variable




Materials List Details: This installation is composed of five elements- light, weight, time, distance, memory. Nautical Twilight is the span of time when sea navigation by horizon is not possible and land objects require artificial illumination for viewing. Salt of the earth denotes benevolence. Triangulation is a navigational strategy to locate an unknown point with two known points. Omniscient refers to unlimited understanding. Sage and Cypress oils evoke clear and open thought. A printed and folded book containing a poem translated into nine languages, with an image from the triptych printed on the verso, was available for viewers to take with them. The installation engages in ongoing iterations, considering the historical narratives and concerns of each geographical location. Viewers often describe a sensation of submersion, disorientation, confusion, calm and clarity, expanding and contracting as they move through space. Making Sense book with 9 translations, printed in black and white on matte paperstock. The poem is a deconstructionist approach to not knowing, or the kind of skillset a human in an intercontinental context may face themselves with. Transcript of poem in English below images.


















no noing
no is not is
here is no knowing
there is no knowing
then is no knowing
past time
past in front of time
suspended time past
past after time
mirror makes past
before eyes
eyes imagine
imagine is dream
image is not imagined
image is not knowing
image is sensing
sensing is feeling
feeling is image
image is sense
focus front
front focus mirror
mirror is what past
seeing mirror
sees past
groping sense of desire
without letters or numbers

Variations By and Translated To: Frida Li, Chinese; Yasmin Than, French; Annetta Kapon, Greek; Marcela Gottardo, Italian; Soo Yun Jun, Korean; Børge Indergaard, Norwegian; Edyta Czajkowska, Polish; Sweet Samson, Russian; Delia Perez-Salinas, Spanish



Research and Methodology:

The installation developed through researching communication technology and the history of the WWII Heavy Water War in Vemork, in Telemark, Norway. The space was constructed by photographs, salt, scent, and photography lighting gels to evoke a liminoid hue at twilight. The metaphorical environment created a temporary space where Axioms do not hold up in material matter. The artwork extends to include the viewer’s subjective truths where congruences exist within the material.


The story of the Heavy Water War was revealed as I intuitively worked through the historic layers of the a worldwide trauma, seeking to find the origin of terrible actions and the ancillary events which returned people to peaceful living. By the means of following research on the properties of materials and their relationship to the physiological human experience, I was led to Vemork Heavy Water Station in Norway. I wondered if art making can serve as a site of research to 1. uncover lost details which alter the understanding of histories 2. process latent epigenetic memories  3. provide a space for deeper learning and reflection.


While time travel and political conversations still have yet to bear fruit in daily life, I wonder if moving learning into exhibition spaces, permits (Currere) a form of knowledge creation, enabling people to fully understand not with the mind alone but through an approximated experience. Experiences that create foundational layers to inspire courage to do things  the people in Rjukan did for the course of history.