Admittedly, I love parameters when creating work. A few defined rules, not too many, and then let the process ensue with continued questions of what more is needed in the mix. In June of 2020, I began sketching out some ideas for a 9’ wide wall space. This space would be within an annual juried exhibition entitled Seeds, at the Westobou Gallery in Augusta, Ga. Pieces would be priced at $300 or less. So I kept in mind a nine foot span, individual pieces that could create modular arrangements, and the idea of seeds.

The ellipse shape seemed beautiful and versatile. Factoring in the idea of modular arrangements, I figured having a multitude would be helpful. Thinking of these little guys as about five inches, a nine foot span would require about 20 of them to go all the way across. Considering the endless possibilities of placements creating the touch of a chaotic flow, a square would be a fitting container to balance. So a 20 by 20 arrangement it is! I finalized my sketches and wrote up my proposal. In a month or so, I got word back that this thing I’d not created yet would be a part of the show. I got to work.

Three simple colors, respectively tilted different ways, made enough variety to make it subtly impactful. I considered paintings panels with intertwined layers of color on wood. Leaning more towards a woven quality, I opted for a plastic barn fencing sandwiched between cheesecloth and affixed with shellac. As the coloration took effect on the fencing, I worked through numerous means and applications. Color was initially added via alcohol dye mixed in with the shellac. I also used spray paint, oil paint, and wood stain to infuse more color variations. The sheets themselves were intriguing once dried.

Once the panels of the primary colors were dried, they were ready for the laser cutter. This process ensured all of the ellipses were identical. This is important in my consideration as the nearly perfect similarity of each of the ellipses unifies them; identifying them as a collective using this shared trait. An individual identity for each piece is retained through the subtle differences of their color and texture. This echoed the organic variations within a geometric shape the seeds within the square provided.

The final, critical component of the entire installation was a method of aleatoric selection. This played on the modular aspect using 400 pieces, allowing for seemingly infinite possibilities. The preparator was provided instructions about height and alignment of the grid of nails. Once in place, the individual pieces were placed in a pillowcase and selected blindly. Once removed from the bag, it had to go on the next nail in line, from bottom to top. This process can be repeated in any setting, resulting in a different arrangement, guaranteed. This is the truly splendid aspect of this installation that I enjoy most: the chance arrangement. It creates flows whose compositions are simultaneously unique from and similar to one another.

I was able to create a nine by nine grid in the studio to run compositional tests before delivering to the gallery. This allowed me to hang and rehang the pieces numerous times. Each time the experience of seeing what new interactions the relation between the parts presented was like watching a host of birds flutter about the yard in continually shifting positioning.

The takeaway for me through this project and installation was the validation I experienced in following my instinct to play with factors that intrigue me: parameters, aleatoric selection, patterns which emerge from layering, organic texture, clean geometric edges, implied shape, the space between parts, maximalist-minimalism, and modularity. Just to hit on the ones that stand out at the moment. Here’s hoping these 400 little ellipses get another wall to hang out on again to show what they’ve got.