History: Since the completion of the first series (11 cement works) the monolith has two separate study cases: Field monoliths (beehives) and tabletop monolithic structures.
Field Monoliths (numbers 1-6)
The field monoliths are weathering in the field. About the size of beehives, these each have an individual character and form a series of interlocking spaces that suggest a larger unit.
Tabletop monoliths (Numbers 7 plus)
Some of these are more experimental in nature. One is a pedestal piece and the remainder is 30 lbs. or less with wires for wall hanging. These monoliths are slightly more specific in nature with references to scale and use. None of these could satisfactorily remain outdoors due to the accretion of other materials upon their surfaces.
Accidental breakthroughs, terminated experiments, and general observations.
Plaster on cement achieves the exact materiality of the monolith. Both are very dead materials sculpturally, and both have very live surfaces to be explored.
Do not put lights into artwork again ever.
–first failure, in Dreams of Escape – light did not work at all.
–Second failure, in Darkly Trusting – light worked but was ineffective.
The monolith as a dead thing is the exact opposite of the form, which is the living thing. The form is the mystery, in that it is the solid into which the cement is cast. The exact nature of the void is conceptually elusive and therefore a mystery worth pursuing.
The monolith expresses this dead thing eloquently. The relationship of the monolith to other similar structures – interstates, sidewalks, and the other hardware of modernity – is one to continue as an exploratory series.