The Evolution of the monolith

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)

Field monoliths in situ

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)

8 new monoliths

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.

East End District

A new district is arising in the neighborhood bounded by Corrine, Winter Park Road, and General Rees.  Dubbed the East End District, the area is housing more and more artists, writers, thinkers, and doers of the twenty-first century.  The housing stock, built in the mid-1940s through the early 1960s, reflects the early postwar free thinking that is now coming back to live in this affordable neighborhood.
In the spirit of this era, two new models are offered for empty or underutilized lots in the neighborhood:  The Jack and the Al.
The Jack

“because he had no place he could stay in without getting tired of it and because there was nowhere to go but everywhere, keep rolling under the stars…”
― Jack Kerouac, On the Road
Front facade of the Jack
The Jack is a 4 bedroom, 3 bath residence with a writing studiio.  The garage is
at the front for rapid access to the road.  The free plan spaces of the house are clustered
around a courtyard, celebrating the midcentury freedom of thought and a unity of social,
family, and personal space.
The Al
“To gain your own voice, forget about having it heard.
Become a saint of your own province and your own consciousness.”
― Allen Ginsberg
The Al is a 4 bedroom, 3 bath residence with a raised private deck.  The garage is in
the middle of the structure.  A public area with living, dining, and kitchen sits with
a porch on the front of the street, while the bedrooms and family rooms float
over the top, opening onto an upper court.
Front Facade of the Al
The upper deck is completely private.
Coming soon:  The Bill

May 20, 1942

May 20, 1942

May 20, 1942


Medium:  balsa wood, old letters, Vmail, and envelope.


1.  Front and back of envelope contains an outline of a novel apparently written by the letter-writer; it starts May 20, 1942 hence the title of the piece.

2.  Vmail correspondence is actual Vmail from 1944 and 1945.

3.  Other paper used in this piece are from the same vintage.

4.  Harvard Club letter was too smarmy to include; envelope was included mostly for its postage graphic.