Peachwood Circle & Other Southern Gothics
Medium: Steel, Enamel, Acrylic, Rubber, Nylon, Asphalt, Wood, Glass, Stone, Stone Dust, Aluminum
5 x 80 x 24 feet
Location: Fire Road
Peachwood Circle, Steel, Enamel, Acrylic, Asphalt, Wood, Glass, Stone, Stone Dust, Aluminum, 5 x 12 x 12 feet
Black Madonna, Steel, Enamel, Acrylic, Asphalt, Wood, Stone, Stone Dust, 5 x 12 x 12 feet
Zakaria, Steel, Enamel, Acrylic, Asphalt, Wood, Stone, Stone Dust, 5 x 12 x 12 feet
Space Camp, Steel, Enamel, Acrylic, Asphalt, Wood, Stone, Stone Dust,
Aluminum, 5 x 12 x 12 feet
Charrette, Steel, Enamel, Acrylic, Asphalt, Wood, Stone, Stone Dust,
5 x 12 x 12 feet
Mongoose, Steel, Enamel, Acrylic, Rubber, Nylon, Asphalt, Wood, Stone,
Stone Dust, Aluminum, 5 x 12 x 12 feet
Peachwood Circle & Other Southern Gothics revisits the concept of spatial alchemy interrogated in my 2018 work, Topic 3: Consciousness. Physical objects informed by states of consciousness rested at the core of that inquiry. Themes such as nostalgia and memory, orbiting this project, reflect an exploration into the psychotemporal transformation of objects. The people, places, and things that exist in our mind’s eye change as time grants perspective. As we grow so to do our needs and the places that once provided refuge may now feel confining. Each of the six structures pulls from specific moments during my formative years in Georgia. In form and mood, I use these moments as the catalyst for mutation in each piece. Traditionally playhouses are spaces for reveries however, these sculptures act as repositories for memory. The vessel carries the memory, but how then does that memory affect and transform the vessel?
Janie saw her life like a great tree in leaf with the things suffered, things enjoyed, things done and undone. Dawn and doom was in the branches.
— Zora Neale Hurston, Their Eyes Were Watching God
