chocolate-covered tennis ball simulating a bounce on the surface of the moon. the chocolate will be covered in moon dust every time it bounces

Result #1

chocolate-covered tennis ball simulating a bounce on the surface of the moon. the chocolate will be covered in moon dust every time it bounces. This was an odd one to make in a gallery context, but it worked, and the effect was almost comic, with the chocolate falling as a breath of fresh air into the crowded space.In a small room at the rear of the gallery, Ukeless 4-D glasses were arranged like puzzle pieces—and strange. Four of these were lined up on the floor. The glasses themselves were filled with white porcelain, so they looked like French gems on a plate. They were arranged in a way that made the four framed glasses seem like vanity mirrors. This incongruity of materials—the mirrors and porcelain—was perfectly reflected in the glass on the floor: the reflection of the porcelain and the porcelain in the porcelain. The glasses were made in the same way as the porcelain, but the mirrors were glass. The mirrored porcelain was made with the same technique as the mirror in the other room. Each of the four glasses had a label attached to it—a description of the ingredients and the way the porcelain was poured—so that the labels could be seen as traces of the work of the hand. As you stood back from them, the porcelain became a physical object—a reflection of the hand.The artist, who is also an artist, is quite used to the verbal aspect of her work. One of her works is a book of writing exercises, a sort of novel-within-a-novel, with over 300 pages of notes, notes that gave an account of a house called La Morte dacte. It was written by an unknown person and contained a lot of personal information about the art itself. There were also notes from the artist, who wrote a rather personal, autobiographical, and obsessive narrative about her parents and her childhood, with notes taken from a letter she wrote to herself.

Result #2

chocolate-covered tennis ball simulating a bounce on the surface of the moon. the chocolate will be covered in moon dust every time it bounces. The moon itself is also a metaphor for the artists ability to conjure up the mysterious, atavistic qualities of her surroundings. The materials and imagery, as well as the weird rhythmical ticking of the clock, are accompanied by a sound track of metallic clanks and the crackle of insects. The title, Eat, Play, Sleep, is as much about the possibilities of her own body as it is about the contradictory dualities of our relationship to the earth and the moon.The artist has produced several series of works, including a giant graphite drawing of a small, dead-eyed black-eyed child (Biting the Moon). In the past, she has made works using cotton-dipped newspaper, ink, and tape. These works, like her earlier drawings, are playful and humorous, but they are also more serious, and the artist has brought this awareness to bear on the work. Her drawing is not the simple, white, graphic image of a moon, but rather a crudely rendered map of a city. The drawing is the result of an accidental process of elimination, of abstracted out of reality, of the absence of the real and the realized in our world. A map is a concept that is constantly expanded and negated, and one can easily imagine a world where it is not just the abstracted and the partially rendered, but also the fully rendered and the partially destroyed. The piece is a guide for an exploration of the emptiness of the real and the image.The exhibition also included a number of works on paper, some of them extraordinarily beautiful. The artist has made a number of drawings that explore the relationship between drawings and paper. One of these works was made by collage, a technique in which two drawings, one of a drawing of the other, are combined into a new, larger drawing, which is also a drawing. The drawing of paper also makes reference to the history of art, with its various media.

Result #3

chocolate-covered tennis ball simulating a bounce on the surface of the moon. the chocolate will be covered in moon dust every time it bounces, as if from an unseen explosion. (The works title, Earth Day, is a reference to the first day of the lunar calendar, when the earth is flat, and the moon is represented by a black dot.) Another work, a rickety post-and-lintel structure that resembles a temporary wall—one that might be a part of a living space—is the equivalent of a pendulum. In this case, the pendulum is suspended on a lighted cylinder of plastic, suspended above a small plastic table of the same dimensions and material. This table is filled with colored plastic water—golden, green, and blue—which forms a bridge to a small table of the same dimensions. Here, the table is covered with a taut film of the same materials, which forms a bridge to the table. But the bridge is hidden, and the table is a small pedestal, the position of which is in a drawing on the wall. The objects on the pedestal are filled with the same stuff as the table, but the water that flows from it is poured into a small hole in the glass, where a glass of water is suspended. As in the piece on the table, the spectator is asked to meditate on the colors and textures of the liquid, to contemplate the wonderment of the colors.The piece on the table is a little different, however, in that it is not covered with water, but rather with dark blue plastic bags. Here, the viewer is asked to stand before the bag and look into it. The plastic is covered with a film of dark blue plastic water—green and blue—which is suspended above the viewer. The green and blue bag is placed on the surface of the dark blue plastic, and both are filled with water that drips down the side of the bag, creating a ring of dark blue plastic water that seems to be rising up from the bottom of the dark blue plastic.

Result #4

, then melted; the tennis ball will remain as it is, seemingly undisturbed. This is an exquisite and entrancing tableau, and one that, however small, cannot be dismissed. It demands the most careful consideration; the fact that it is a work in the first degree and a not-work in the second does not guarantee its own existence. The dilemma this presents is not unique to the art world, however. It is the reason the work was included in a show that has to do with contemporary art—its place in society, its place of reception. This is an attractive cause, but it also serves to remind us that we need not despair, however inadequate, the work of art may be.

Result #5

chocolate-covered tennis ball simulating a bounce on the surface of the moon. the chocolate will be covered in moon dust every time it bounces, and the tennis ball will be covered with the same dust every time it hits the floor.The moon image was also represented in a two-part sculpture, a small, round brownish cylinder made of hot-rolled steel, and a large, yellow, rectangular steel cylinder which was very similar to a tiny but much larger cylinder, from the same series, but which was much larger. The cylinder was placed on top of the round one, and the two were joined at the lower right by two holes cut into the cylinder, suggesting a different perspective on the cylinder, which, on closer examination revealed itself to be a cylinder in the round one. The former object was in fact the back of a human body, and the two were connected by a wooden rod with a tube into which was then inserted a round piece of metal. In fact, the two parts were all the same size, but the cylinder was placed very high up on the wall, and the sculpture, which was on the floor, was much smaller than the cylinder. The cylinder was also placed high up, suggesting that, for all its size, it was one of the ones that stood closest to the ceiling, and thus the sculptures were the only ones placed on the floor. This difference between the two pieces also served to cancel the idea of movement implied by the rotating motion of the cylinder.The objects that were exhibited, each of which consisted of a metal rod, were simple, straight and metal, and were hung on the wall in pairs. The upper section of each pair was a small rectangular metal rod, and the lower section was a rod about the size of a baseball, with the piece of brass attached at the top. The pieces were not arranged in any particular sequence; rather, they were arranged in a pattern which was reproduced and which was repeated in a variety of ways. The objects were not balanced, but rather, one followed the other in a series of sequential, almost random, actions.