INSTALLATIONS

HYPERTENSILE CLOUD: BALL-NOGUES STUDIO 2009

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HyperTensile Cloud
Installation View, Ball-Nogues Studios

HyperTensile Cloud is an experiment in the creation of a site-specifically informed, formally reactive, and intentional procedure for creating dimensional spacial adaptations as extensions of a graffiti subtext. HyperTensile cloud surrealistically spans the distance between letterforms as a purely tensile fabric and light sculpture, whose lighter than air characteristics and illusive construction act as both intrigue and mystery, while gracefully becoming a representative of pure physics principles (tension and compression) applied to planar geometry under specific angular forces. The result is a ‘Hyper- Tensile- Cloud” a form of condensed motion, charged with the forces that hold its shape, transcending its material while almost evaporating the suspended content of its planar form to evolve dimensionally.


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‘SANDSCRIPT ART’CHI’TEXTURE’: GALLERY 106, 2008

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The SANDSCRIPT installation is a gallery intervention integrating previous GENERAL.LA stylistic approaches to mediums (specifically: painting, sculpture, calligraphy, and graffiti) combined in a gallery-specific installation that was ultimately an improvised creative act. First, a series of panels with existing monochromatic script and abstraction were placed along two 90degree adjacent walls emphasizing a corner of the gallery to both bring attention to the intended spatial element of the installation as well as expose the under-utilization of a traditionally overlooked space: the corner. Second, adding a subtle series of brushstrokes in a light palette of little contrast, both words in a graffiti script unique to GENERAL.LA as well as abstracting brushstrokes begin to both add a graphic quality unifying the gallery walls and installed panels, as well as merge both foreground and background by clever compositional choices of marks both equal in tone as well as in contrast to the white gallery walls. The last element is the addition of several architectural tension-outline-sculptures to the panels and corner in a white mason line. The result is a series of micro maquettes over precisely crafted script, lending an illusion that the mini-sculptures are extensions of the graffiti. As a cohesive image, the installation conveys a motion between potential entropic moments, as if the gallery walls themselves have come alive- transforming from blank white surfaces into a complex dimensional ‘ART’CHI’TEXTURE’ of orthagonal extrusions creating a 3D platform to emphasize a techtonic ‘SANDSCRIPT’ emerging as subtle variance in color and markation, which as a calligraphic lexicon of legible text emerges almost appears to project its next evolution by outlining geometric forms as extensions of its graffiti subtext and script extrusions.

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‘INVISIBLE TRANSFERENCE’ : HANGAR1018 GALLERY 2007

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Invisible Transference was a 2005 installation work in the downtown Los Angeles contemporary gallery space The Hangar 1018. Utilizing all recycled materials, this Lighting installation combined architectonic ideas of tension and compression with diaphanous fabrics and bold neon vectors, proportionally expanding formally as both a subtle reference to the behavioral properties of light itself, as well as abstractly referencing a link between Fibonacci mathematics and the expansive gravitational phenomena that occur as one approaches the speed of light. These ideas of ‘Invisible’ as well as ‘Transfer’ denote the nature of ‘what lies beyond’ our visually perceivable electromagnetic spectrum- historically referred to as ‘the Aether’ (The Spirit…)- yet is still a ubiquitous subjective quality to experience. Because of its ‘inVisible’ nature it must be beyond the speed of light or at least ‘beyond light’: As Such, light serves as a metaphor for information, such as thoughts and inspiration that travel invisibly in consciousness and spirit, becoming the spark of creativity. Thus this installation serves as an symbolic exploration of ‘inspiration’ as phenomenology through a physical manifestation of the experience of “phenomena” as a metaphoric archetype materialized with site specificity.

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‘PROM’ MEDIA LOUNGE: ACCD WINDTUNNEL 2006

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In 2006 Art Center College of Design held a design competition to select, from invited competitors, entries that best solved their need for a lounge environment during the christening of their brand-new South Campus- a LEED award winning redesign of the one-time NASA JPL Windtunnel. This massive cathedral-esque space (of open-air 60′ ceilings over a footprint of 10,000sf plus) was now being opened with another anomalous occurence – The first Art Center formal student event resembling typical educational social traditions: The 2006 ArtCenter PROM. In order to hopelessly attempt to give this huge void a program for the event and give it a variety of experiences, their invited competition stipulated the conditions of a 6000$ budget split between 4 distinct sections intended for 4 separate and entertaining installations. Of the 100 invited, 4 chosen designs would each fill their allocated 1000sf successfully creating an unforgettable and unique ambiance. GENERAL.LA’s proposed sculptural media lounge was chosen as an ideal solution to providing space for rest, social intimacy, musical variety and visual entertainment all in one aesthetically extraordinary emersive environment that also fit the challenging budget limitations. By introducing a pleasing arrangement of chaises facilitating a winding movement through integrated projection screens made of sculptural frames covered in a skin of media-crisp textiles in large flowing compositions weaving a path for moving through rest areas of varying degrees of intimacy upon which sound/video projections could be displayed.
The resulting space was in constant intrigue throughout thr night as its scaled interactivity of form with an imaginative reapplication of traditional event entertainment attracted a walk through or greater lengths of experience by nearly all attending.

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‘PHIDER’ : HUNTINGTON GARDENS 2005

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PHIDER is a 2005 installation at the historic Huntington Museum, Library, and Gardens in Pasadena, CA. Included in a series of month-long, site-specific installations curated by by artist Laura Cooper in collaboration with Huntington Art Curator Shelley Bennett throughout The Huntington’s extensive gardens, PHIDER is an interpretive response to a personal theory established in an attempt to decode a universal consistency in the geometry of nature by studying unifying proportional ratios and formal geometric aspects inherent in all of its myriadic biological variations, equally expressed in microscopic and macrocosmic phenomena. By symbolizing Golden Ratio, Phi, PI, and Fibonacci geometries inherent in all biological lifeforms, PHIDER seeks to be an archetypal sculpture refined into a simplistic, coherent form unifying and symbolizing these comprehensive geometries. By combining a 2Dimensional plan of two golden section spirals mirrored, then defining a series of points in fibonacci proportion along these spirals and using them as the base foundation coordinates to install a series of tubes also measured in corresponding fibonacci proportions which are then tied in tension toward the mathematical center of the mirrored golden spirals, an exponentially proportional series of curves are created that in tension mirror the 2D Golden Spirals in 3D, creating a comprehensive mathematical form of phi. Similar to how all biological life includes the basic combinations of these ratios to achieve all of its multiplicitus forms, PHIDER derives an arguably (over) simplified, yet poetically harmonious synthesis of these universal geometries to achieve its lasting form.

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‘INSTANT STREET ARCHITECTURE’ : CANNIBAL FLOWER GALLERY 2004

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Made as a Guerrilla evolution of the GENERAL.LA ‘HYPERDYNAMIC’ Environmental Building System first employed in the VISIONS Installation (Below), translating a basic Phi spiral and corresponding sculptural tubing in proportionally 3Dimensional ‘ribs’, with a tensile skin stretched over the geometric formwork and lit with ambient regard. As an improvised experiment commencing later explorations in ‘Instant Street Architecture’, this Installation also served as a initiatory piece to the CannibalFlower Gallery’s Mid 2004 Group Show.

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‘VISIONS’ : SPACE ISLAND CLUB DTLA 2004

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Being asked in 2004 to design a temporary environment for a 6000sf post-Burningman party called “VISIONS”, GENERAL.LA invented a revolutionary structural approach to mobile, often temporary, experiential space that capitalized a practical economy of means without compromising aesthetically impresssive dynamic sculpturalism. This Structural System, coined “HYPERDYNAMIC TENSEGRITY” with its premier in VISIONS, produced such an impressive effect on its clients that the owners of the venue where this 24hour event occurred decide to let the installation remain indefinitely, and become the foundation for consistent weekend events.
In the spring of 2005, SCI-Arc the Southern California Institute of Architecture installed a fabric shade pavilion as a permanent addition to their ArtDistrict LA campus… Located exactly 4 blocks from the VISIONS installation venue, now called SPACE ISLAND.
A wildly popular underground all night speakeasy venue – the only venue of its kind open after hours in all of LA – SPACEISLAND was now throwing parties nearly every weekend all weekend long. Attracting a close inner circle of close to 50 people and every 18 to 50 year old in the downtown creative professions: thousands and thousands of people began to become initiated in the SPACEISLAND experiential environment.
When SCI-Arc installed its student-designed shade structure it became overtly obvious that the VISIONS installation played a source role to its aesthetic and structural strategy: Although professionally constructed with a complimentarily appropriate budget and textiles specific to professionally accessible design/build manufacturers (in contrast to VISIONS which was the equivalent of a 6000sf hand built sculptural act by an individual artist on an “economy of means” budget and the easiest accessible appropriated materials: PVC tubing, spandex/lycra from cheap fashion textile wholesalers, and reclaimed lumber) the exact process that made the ‘skin and bones’ tent tensegrity structural integrity of VISIONS became emulated as a class-extension design/build excercise. Not only had VISIONS become fair game to one designer as the origination of his inspired design solution, but also it was being perpetuated as a teaching strategy giving an entire class a belief that their project somehow was a result of their own intellects.
Needless to say, the inception of VISIONS produced a lasting experiential effect on both its observers and surrounding environment. The initial VISIONS installation of a DJ Booth and Projection Screen, Lounge kuccoon, facade elements, and seating became a second request to build an “initiatory portal” in the main entrance composed of an emmersive 360degee installation and a Heavily sculpted form from which ticketers could facilitate theor point of purchase, while being the structural foundation to this over-arching gateway and subsequent custom designed blown glass chandelier lighting.
As the third and final evolution to VISIONS, its initial formwork was memorialized in heavy steel framing and high-grade metalic textiles becoming a lasting environmental inspiration and landmark to a vibrant LA community.

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