Concrete Poetry: act 3 mix ("To a Water Lily"), installation performance video, 72 minutes, Heinz Studio, MacDowell Colony, July 2015.

pictured:
Concrete Poetry: act 3 mix (“To a Water Lily”), F# Major (I), chord 120 of 144, installation performance video, 72 minutes, 10:38 am, July 6, 2015.
Concrete Poetry: act 3 mix ("To a Water Lily"), F# Major (I), chord 144 of 144, installation performance video, 5:15 pm, July 6, 2015.

Resonating the concrete affected its air-entrainment, affecting its permeability and thus, its floating time. The temporal dynamics of the piece were a poignant finding--the floating concrete chords sink over time, like piano notes hanging in the air before falling below the threshold of hearing. Choreographed, like a concert in construction, the performance of act 3: mix ("To a Water Lily") requires a phased installation on location over four to six days on site.

on location

I work wherever I am-I've painted on Amtrak trains commuting to teach in New York, in hotel rooms in Dublin and one room apartments in Paris, in offices in math institutes in Denmark and India, and I've cast concrete on location in Beijing and Rio de Janeiro without having a word of Chinese or Portuguese. These places and situations have inflected my work with various improvisations ranging from the material marks of the works themselves, to the dimensions and permutations of the mediums (everything must fold or scroll), to the methods, materials and logistics of the work's production (I now know "bai shui ni" means "white Portland cement" in Chinese and that "Beijing" sounds like the word for tiny kisses in Portuguese).