All that is not very much
Blue painters tape and 6 years of studio residue.
Installation at Happy Collaborationist's, Chicago IL
Found print, photographs, acrylic and packaging foamOPP: Your recent body of work Blue Glue and Other Explorations, which uses painter's tape and the residue from your studio, shows the way discarded remnants from the creative process feeds into the creation of new work. This really illustrates what you say in your statement: "Underpinning all of the work is a desire to explore the performative and conceptual role of deterioration and residue." Can you speak more broadly about this theme, either in this project or in your practice as a whole?MB: I am interested in the history and relationship I can generate with any given material. I like to fondly, and somewhat facetiously, call my studio a factory for the generation of history. I tend to generate vast amounts of material leftovers that have been edited out of whatever I am working on at the time but that I am unable to throw away. Over the past six years I saved and cataloged, by color, size, and texture, all of these back end leftovers in plastic paint liners. Similar to a junkyard that is full of objects displaced from their former uses, the Blue Glue project used the junkyard of my studio practice as its primary material. As a rule I tend to stack and pile materials I like next to each other as the first step in making work. In a very democratic way I was determined to do this with all of the remnants I had saved. The installation played with how these fragments, embedded with all of my studio failures, could function together as one coherent thought. Blue tape served as a vehicle for both drawing as well as binding. I like that blue tape has a natural relationship to architecture. We use it to temporarily protect and block off spaces we intend to change. Perhaps one of my most literal pieces, the work was a reflection on failure and the process of making.
Found soap factory residues, Plexiglas, construction cords, poly-tubing, straws, vinyl, acrylic, rust, charcoal, and graphite.
Durational Installation at Soap Factory [link to: http://www.soapfactory.org/ ], Minneapolis MNOPP: You use the term "durational installation" for several pieces. Can you define that more clearly for us? You've installed your "durational installation" Internal Weather at least four times, and each time it's a little different in form and color. Can you explain the piece in more detail? MB: I used the term “durational” to define installations that changed and eventually broke down over a set duration of time. Specifically, the Internal Weather Project pieces were all comprised of hundreds to thousands of drinking straws (depending on the site) that were joined together with surgical tape. I created line drawings in space with the connected straws that were then hooked up to high-powered water pumps. Over time, the straws would develop kinks and cause pressure that would eventually break down the straws and the system. Leaks, breaks, popping sounds, and mini-geysers were all integral parts of the work. In making the installations, I was constantly striving to make the systems more ambitious while at the same time always balancing the fact that I was using flimsy plastic straws. The liquids I chose to run through the systems varied from acrylic paint to road salt. I was also interested in the residue that was created when the system failed. The work was constantly changing both internally and externally. The final form of each installation was determined by a response to the space, time constraints and genuine curiosity. The series ended when I could no longer take the stress of putting together mini-apocalyptic art scenarios. I came close to ruining a couple of gallery spaces. What I loved and still love about the work is that it was a very real and raw response to the strengths and limitations of materials over a duration of time. Each installation played with the edge of failure and strove to put the proverbial “last straw” on the camels back.
Wood, Various Construction Materials, Tarping, Vinyl, Acrylic Found Residues and Tape.
Site-Specific Installation for Cara and Cabezas Contemporary
OPP: How did you begin your ongoing collaboration with Rafael E. Vera? What do you like more about collaborating? What do you like more about working alone in your studio?MB: Rafael and I met working as adjuncts teaching at the College of Dupage. We both work in installation and drawing, and Rafael approached me about creating a body of work together. What was appealing about the collaboration was that we share a love of formal language and a similar approach to space both in drawing and installation; however our individual aesthetics are very different. His work is clean and minimal and mine tends towards the maximal. We were interested in playing our different approaches off of each other. The beginning collaborations were simple exchanges of drawings (Trading Paper series). I would start a drawing, he would finish it, and vice versa. We did this for a year. It became increasingly apparent that the drawings were blueprints for installations, and we have since worked on three different site-specific installations together. What I love about working in a sustained collaboration is that we have developed a visual language that is neither his nor mine. During the installation of our last piece in Kansas City the curator of the gallery commented on how our conversations were nonsensical to the outside observer. We have developed a way of interacting, talking and making that is uniquely ours. In our collaborative work, I make different decisions than I would make in my own work , which is very freeing. Working alone in my studio is just different. I could never give up my own practice, but collaboration has enhanced my understanding of my own process. OPP: What's going on in your studio right now? MB: I recently finished creating three site-specific tactile paintings for a group show entitled Two Histories of the World. The project was inspired by William H. Cooper, an old manufacturing plant turned resale business that is in a state of great disrepair due to the hailstorms that occurred last spring. The curator, Karsten Lund, asked 4 artists (Sarah Black, Laura Davis, Mike Schuh and myself) to create works inspired by the site and the materials present within the site. The work will be dismantled and re-envisioned in a new show at the Hyde Park Art Center in 2012. Otherwise, I am looking forward to some time to make small drawings that are not for any particular purpose but thought and growth.