Wood and metal, 9x9x39’ 2021

MOAH Lancaster Permanent Collection and Permanent Display on Rooftop

For this labor intensive sculptural work, I cut, planed, sanded and varnished 3000 pounds of wood. I wondered what could possibly navigate through this extraordinary obsessive display of so many different conceivable angles combined to create a structural union of positive and negative space?

Our conscious universe, in all of its basic underlying structural elements, is capable of such motion.

Light, traveling at its own speed limit, easily moves through these angles to illuminate them in the trichotomy of our conscious, preconscious and unconscious mind. In deeper levels of mind, the light-illuminated angles reveal the archived architectural archetype of the wall. In other words, the archetype manifests itself as that energy unique to our species that, in the awareness of a continuous informational wave form, becomes every conceivable wall that has ever been constructed.

Consciousness flows through these angular spaces as imagination, bearing it’s gift of creativity, rides the arrow of time into the future where other walls are waiting to be imagined and built from the unlimited imaginal.

In addition, dimensions of space-time pass through the here-now as time itself is the ever changing present in a trichotomy of past, present and future.

If the wall represents an architectonic city without a name or place or time, the challenge of the wall is in its representation as a metanomic metaphor of all the walls that divide us and foster the illusion of separateness. The angles can metaphorically attest to the numerous divisive systems of thought, belief, philosophy, religion, politics or other “angles” of obfuscation that humankind still uses and promotes under the pretense of safety, protection, security, misunderstanding or instinctual bias. These perspectives can only perpetuate our existential conflicts and nihilistic impulses.

If this continues, if the walls don’t come down and we don’t look through these angular spaces that could be openings for a rational understanding of the other side, then the future will look back at us and see dystopian cities of walls without name or place or time.

Near the RISING WALL we contemplate the WALL TEMPLE AT THE VANISHING POINT. These “no two are alike” shapy angular columns ascend, as many temples with towers do, into the sky emphasizing the direction that leads to the heavens above. The interior of the temples are thought to be filled with the higher energetic frequencies associated with spiritual dimensions of consciousness. Looking up at the tower from the ground, we can imagine the vanishing point, just like the vanishing point of skyscrapers or any towering structures. These structural points in space , albeit perceptual illusions of perspective, are symbolic of the invisible arrow of time forever pointing to the future as the forever visible vanishing point beckons us to look up into building new architectural structures for this or other worlds. Random ornamentation with small irregularly shaped, color-rich pieces accentuate the tower offering an unexpected contrast to the natural beauty of the plain wood and perhaps symbolizes the spiritual dimension of the interior.