PROCESS

Thousands of pounds of water-based clay were diluted with water into a grog consistency and mixed with hundreds of pounds of sheared goat hair. The mixture gradually dried, resuming a consistency similar to the original clay. This mixture was then formed over four large curving platforms into the negative shape of the desired finished sculpture. The mixture dried without cracking because of the embedded hair. Cast resin spheres were also partially pressed into the mixture before it fully dried. Once the mixture was completely dry, the hairs were raised to the surface with wire brushes. Resin reinforced with fiberglass was applied in several layers to the dried clay and hair surfaces. After the resin cured, the clay and hair mixture was washed away with water over a 24-hour period. A subtle film of clay remained on the surface of the resin walls as well as a significant portion of the hair, now rooted in the resin.

The video imagery projected onto the surfaces of the sculpture was made by filming black rolls of clay as they were submerged into a bath of milk. The camera was positioned under a clear tray so the hollow rolls of clay appeared to grow outwardly as they became more and more compressed. The footage was then inverted so that the black rings growing against a white background became white rings of light growing against a black field.