Collaboration with Christopher Ottinger during the Spring of 2010 at the Lewis Center

Statement:

An isomorphism can be defined as a mathematical cognate between two sets, biological analogs between different species, and can describe similarities amongst social systems and their functionality.  Isomorphic Eulogy explores parallels between a variety of concepts and experiences, both superficial and sub-textual.  The interrelationship of the senses and the body, for instance—as well as the body and environment—is brought to the fore by the juxtaposition of biomorphic forms and sensory stimuli, intended to cultivate an awareness of the body and an awareness of the body's relationship to its environment.  The work also functions as both a communion with nature and a lamentation of its disintegration.  As sub-text for the installation, a discussion of the loss of pollinating bees is employed.  Parasites, climate change and industrialized usurpations of natural habitats all contribute to the dwindling populations of bees and, as a consequence, their vital roles in the propagation of plant life and food-production.  Without acknowledgement of the interdependence of nature, the absence of honeybees and similar species will have profound ramifications for animal life across the globe—including humans. The materials, objects and sound represent veiled references to the importance of humanistic and ecological concerns as well as creating an environment for reflection, and an understanding of the self in connection to a larger universe.  

Description of work:

The beeswax and paraffin forms imply a connection to the body through color, organic form, and inner light, and connote a connection to nature—specifically to bees and biomorphic forms found in nature and science labs.  The wood is aged, splintered, and stripped of structural function, but maintains reference to monolithic architectural structures.  The wooden monoliths stand in relationship to the wax forms as historical remnants, defining time and space and referencing habitat.

The sound component of the installation is comprised of two, discrete elements.  The first element is a kind of musical composition—a requiem of sorts—made up of audio samples of bees.  When slowed down, these samples take on musical characteristics similar to Gyorgi Lygeti's liturgical work, Lux Aeterna.  The second sound element consists primarily of a sample of the Carmine Bee-eater.  As it's name implies, the Carmine is a natural predator of bees.  The juxtaposition of these two elements creates an uneasy atmosphere:  at times pleasant and at others, ominous, the sound sonically pits the bee against one of its adversaries in a battle for aural supremacy.