Scattergood-Moore Artist Residency Week 3

Dana Hall School

Week 3

Jan 23


I spoke with Dana Hall’s media lab students about materiality and process today. We took a look at artists like Tara Donovan and Doris Salcedo and I worked with the students to make studies from microfiche, twist ties, and photographs to see their different approaches to the same materials.


Some beautiful small works…


Jan 24

Studio love.


Jan 26

Working with my microfiche text I made a series of drawings from the new text combinations. After drawing out a representational sketch of the microfiche object I started to use a cross-hatching mark to delineate the grid-like pattern of the individual pages printed on the film. The drawings became more abstract as I took the grid and texts, and turned them into photographs to warp the perception of both the drawing and text.

Distorted rethinking BW.jpg

Thinking of artists like Robert Barry who utilized minimal text in his installations and Joseph Kosuth who used text as the art object. Below is a study for abstracting the grid. 

FullSizeRender 2.jpg
Jan 27


Look who it is! Scattergood stopped by the gallery/ studio today.  With his forty years experience at Dana Hall he reminded me of the wonderful art mentors I’ve been lucky to have over the years. I found him to be quite the kindred spirit with our shared love of artists’ notebooks. I’m so grateful his vision led to a gallery for students and artists alike.



Scattergood Moore Artist-in-Residence

Dana Hall School

Week 2

Jan 9

I began to outline how the sun moves light across the gallery throughout the day. Playing with the Microfiche films and how they reflect light in a grid-like pattern.



Jan 10

While looking at artists like Sol Lewitt and Mel Bochner and their approaches to seriality, I took my constructed photo project and tried to assign a greyscale to the various textures to create a table for a stop motion sequence. I’m interested in how these constructed photos could become self-referential and offer depth/light/ and texture to a moving image of the materials themselves.

FullSizeRender 13.jpgFullSizeRender 12.jpg

Jan 11

Mary Ann (photography teacher, here at Dana Hall) and I took out the lightbox to take a closer look at Lantern Slides from the Science department years ago. Perfect for the constructed photography project students are working on from old slides.


I got to meet with some Dana Hall photography students and we talked about process and “painting with light”.

Jan 12

More mass production in the gallery today. 





Scattergood Moore Artist-in-Residence

Dana Hall School

Week 1

Jan 4

In Dana Hall’s Gallery lay the wreckage from my first day in-Residence. Tools, geometric pyramids, cardboard, chopped up envelops, and black and white photos lay scattered about. Cut, glued, extracted, and abstracted projects begin as I contemplate how to turn found objects into art.

For an artist interested in materiality; my process begins with a hunt. Curiously, I unearthed the artistic resources at Dana Hall School expertly guided by Michael Frassinlini, head of the art department. He brings me to the Maker Space equipped with a lazor cutter, 3D printer, and all the tools. Excitedly, I observed the middle school’s Maker’s club trying out their new LED on/off switches.

The day ended with several boxes of microfiche films from TIME Magazine, U.S. World Report, Newsweek, and Science Today. In black, white, and blue, these small films were salvaged from the Dana Hall Library after Michofiche readers became obsolete… to the delight of installation artists everywhere.

FullSizeRender 4.jpg

Jan 5

Today I cut and arranged black and white photographs of everyday moments in my studio into geometric patterns. The photographs consist of the moments/ materials that inspire me in my practice. Within the geometric pyramid form are the textures of steel wool, twist ties, black paint, notebook lines, the screen from my studio chair, and the river outside my studio.   

FullSizeRender 7.jpg

I keep thinking of Mel Bochner’s work, Surface Dis/Tension, 1968. A photograph of a grid the artist soaked in water that then re-photographed as a spatial distortion. This experiment grew from photographs taken in his studio of ephemeral installations like the textures I’ve utilized from my own studio. 

Mel Bochner, Surface Dis/ Tension, 1968

I hopped in a van of Studio drawing students for a trip to salvage materials. The students collected books for a notebook project and I found an old workbook for photography techniques with some irresistible diagrams.

FullSizeRender 8.jpg

And the indispensable Mr. Frassinlini sequestered these ninety-eight year old Lantern slides used by the Dana Hall Science department long ago…


Jan 6

Today I took text with the largest font from the Times microfiche films. Listing a mixture of advertisements and headlines together the decontextualized language morphs into new combinations. These new groupings use language as a found object and addresses phrases common to our everyday lives out of context.

FullSizeRender 10.jpg


This place, Animation, 2016

“I make work to look at structures of knowing. I am curious about the experience of intense observation and the effects upon both the subject and object under investigation. I am drawn to processes that are revealed by their inability to fulfill themselves.” –Anne Macmillan

Boxes for Rocks, Anne Macmillan, 2012, (Cardboard, rocks, shelving unit). 



Glenn Ligon, Untitled (Malcolm X), 2008 Pencil, Acrylic and flash on paper mounted on panel

Glenn Ligon, “There’s a kind of slowness and inefficiency about rendering text in paint. We’re in a world that’s very fast, so things that slow you for a minute-give you pause- are good.”