I finished installing Paper Mountain at Elder Gallery of Contemporary Art last week. After one year of planning, three months of folding paper cranes, and one week of installation with a team, it feels good to see the project come to life and to share it with others.
Below are two time lapse videos showing the installation process from Saturday night through Wednesday. I used GoPros to shoot one photo per minute for the duration of the installation. The first video was shot from the ground floor, and the second was shot from the mezzanine for a bird’s eye view. These are the steps we followed to install Paper Mountain:
- Assemble the scaffold (not for the faint of heart)
- Place tape on the floor to mark the footprint of the mountain
- Attach the wire fence to the ceiling trusses
- Tie fishing line to the wire
- Open each crane (fold wings down)
- Pierce the top of a crane with a needle
- Run fishing line through a crane
- Place crane at correct height
- Squeeze split shot (small lead weight) under the bird to hold it in place
- Repeat for each bird
- Inspect and make adjustments
- Trim fishing line underneath birds
- Sweep underneath the piece
- Light the piece
- Disassemble the scaffold (terrifying)
Beyond the Mountain is up at Elder Gallery of Contemporary Art until April 26, 2019. If you haven’t already, go see it! You’ll experience Paper Mountain, Sky Project, and paintings by me and Martha Armstrong.
Here’s a time lapse video showing the process of making an abstract landscape painting. This one was the third in a series of four that I made. You may notice the little drawing pinned up to the right of the painting. This is a loose reference drawing that I made from a friend’s photo of a valley in Spain. The photo really inspired me when I saw it – something about the big space, the layering of shapes of grass, ground, rock, and sky – so I asked my friend if I could make some work inspired by the photo.
If you look closely, you’ll see that part of the way through I swapped my acrylic cart out for my oil painting tabouret. I often start my paintings in acrylic so that I can more quickly put down successive layers of paint (acrylic dries very quickly – for a split second I use a hair dryer to speed up the process), then I move into oil paint which dries much more slowly. Some people are sticklers to one medium over the other, but I think they each have their benefits and drawbacks, and they are ultimately means to an end. I use what works best for me at any point during the process. Once you start working in oils though, there’s no going back to acrylic. The painting would literally fall apart since acrylic dries too fast for the oil paint to dry properly under it.
I set my camera to shoot once every 10 seconds.
Last night we shot the process of painting a series of small works on paper. Working on this particular set of paintings is a meditative process. While I work on pieces like these, I focus and get into a “zone” if you will. For these paintings I used a very limited palette and improvised. During this process I am looking at composition – the way the marks of paint, ink, and graphite interact with each other and the space around them. Elements such as how light or dark a mark is against another mark, the speed of brush marks, the direction in which I pull the brush, all these aspects come into play in the finished piece. I enjoy how paired down this process is – I’m not working with an image or a plan in mind. This is a truly meditative process during which I am 100% focused – all superfluous thoughts fall away. For me, this is the essence of painting and it ties into being in tune with nature. This sense of being in the “zone” or at one with a process is similar to the feeling I get when I am riding my bike or running hard – when all the extraneous noise falls away, and the experience of moving through space becomes the only thing that matters at that very moment.
I made a drawing of Tim last night and filmed the process. In retrospect, I should have lit the drawing from the left to minimize the shadow cast from my hand… I’m still learning.