Approximately the 15.782.515.200th moment set in stone; Mona Lisa
2006, Digital sketch
Approximately the 15.782.515.200th moment set in stone; Mona Lisa
2006, Drawing
Approximately the 15.782.515.200th moment set in stone; Mona Lisa
2006, Jady Black Marble
68 x 77 x 6 cm
Approximately the 15.782.515.200th moment set in stone; Mona Lisa
2006, Jady Black Marble
68 x 77 x 6 cm
On paper, 2006
(charcoal, cardboard) 8 x 11,5 inches
On paper, 2006
(charcoal, cardboard) 8 x 11,5 inches
In person, 2006
(painting, fimo), 12 x 14 inches
Untitled Drawing, 2006
(charcoal on canvas), 8 x 4 inches
Captured not missing, 2006
(photographic series)
Sketch VIOTOS, 2006
(graphite, paint on paper) 23 x 15 inches
Untitled Installation VIOTOS, 2006
(wood, frames, framing wood)
Framed, 2005, Drawing series
(graphite, oil stick, wooden frame on paper)
20 x 24 inches
[Sketch of an installation]
On Loan, 2005, Video
(00:06:55)
[Five videos inside painting frames, over a still image of a museum setting.]
Approximately 1980 Square Feet, 2004, Installation, 20 x 10 feet
[The dimensions of 52 well-known paintings, black thread, sewing needles and vinyl lettering. You may find the list of the paintings used for the installation under "texts". I outlined the exact dimensions of 52 paintings using black thread and then placed the title of the painting on the inside left bottom corner. Once it became a web, it read as one piece. The area the paintings covered together was approximately 1980 Square Feet.]
Approximately 1980 Square Feet, 2004, Installation, 20 x 10 feet
(From an angle)
Approximately 1980 Square Feet, 2004, Installation, 20 x 10 feet
(Detail)
Untitled (Can I please speak to Jackson Pollock?), 2003, Audio Installation
(00:03:11)
[Page 28-9 of the Chicago Reader (Gallery Guide Section) was displayed on the wall, which were also used to mark the galleries I contacted in the Chicago area in search of the great American painter, Jackson Pollock. The audience could listen to the audio by using the phone, as shown in the photograph.]
Point of Entry (While, Right after, The next day)
2003, Each photograph printed on wallpaper 13 x 10 inches
[3 sites in downtown Chicago, where Bernard Viljoel and I urinated.]
Location: CTA Wabash
Point of Entry (While, Right after, The next day)
2003, Each photograph printed on wallpaper 13 x 10 inches
[3 sites in downtown Chicago, where Bernard Viljoel and I urinated.]
Location: Cnr. Monroe & State
Point of Entry (While, Right after, The next day)
2003, Each photograph printed on wallpaper 13 x 10 inches
[3 sites in downtown Chicago, where Bernard Viljoel and I urinated.]
Location: Cnr. Adams & Michigan Avenue
Conceptual Prop, 2003, Digital photograph on wallpaper
(27 x 19 inches)
[A four day public performance that involved the application of 5" long nails on my fingers; shaving my hair and walking around Chicago scratching my head while thinking.]
Untitled [Untitled (Portrait of Ross in L.A.) 1991] 2003
2003, Installation (Detail of numbered candy)
[The installation consisted of 8741 pieces of fruit flashers candy taken by 5 colleagues and myself from Felix Gonzalez-Torres' piece entitled "Untitled (Portrait of Ross in L.A.) 1991" displayed at The Art Institute of Chicago. Also, please view under "texts" the letter send to James Rondeau, Department Head Modern and Contemporary Art, Museum of the Art Institute of Chicago; Howard & Donna Stone, Art Collectors who own the piece and have loaned it to The Art Institute; and finally Andrea Rosen, Executor of Felix Gonzalez-Torres' estate.]
Untitled [Untitled (Portrait of Ross in L.A.) 1991] 2003
2003, Installation (Audience members)
[The installation consisted of 8741 pieces of fruit flashers candy taken by 5 colleagues and myself from Felix Gonzalez-Torres' piece entitled "Untitled (Portrait of Ross in L.A.) 1991" displayed at The Art Institute of Chicago. Also, please view under "texts" the letter send to James Rondeau, Department Head Modern and Contemporary Art, Museum of the Art Institute of Chicago; Howard & Donna Stone, Art Collectors who own the piece and have loaned it to The Art Institute; and finally Andrea Rosen, Executor of Felix Gonzalez-Torres' estate.]
Untitled [Untitled (Portrait of Ross in L.A.) 1991] 2003
2003, Installation (Pile of candy)
[The installation consisted of 8741 pieces of fruit flashers candy taken by 5 colleagues and myself from Felix Gonzalez-Torres' piece entitled "Untitled (Portrait of Ross in L.A.) 1991" displayed at The Art Institute of Chicago. Also, please view under "texts" the letter send to James Rondeau, Department Head Modern and Contemporary Art, Museum of the Art Institute of Chicago; Howard & Donna Stone, Art Collectors who own the piece and have loaned it to The Art Institute; and finally Andrea Rosen, Executor of Felix Gonzalez-Torres' estate.]
Untitled [Untitled (Portrait of Ross in L.A.) 1991] 2003
2003, Installation (Pile of candy over the two week period that was displayed at the NSA Gallery in Durban, South Africa)
[The installation consisted of 8741 pieces of fruit flashers candy taken by 5 colleagues and myself from Felix Gonzalez-Torres' piece entitled "Untitled (Portrait of Ross in L.A.) 1991" displayed at The Art Institute of Chicago. Also, please view under "texts" the letter send to James Rondeau, Department Head Modern and Contemporary Art, Museum of the Art Institute of Chicago; Howard & Donna Stone, Art Collectors who own the piece and have loaned it to The Art Institute; and finally Andrea Rosen, Executor of Felix Gonzalez-Torres' estate.]
Untitled [Untitled (Portrait of Ross in L.A.) 1991] 2003
2003, Installation (Chart that records and acknowledges the contributions of each contributor who assisted me)
[The installation consisted of 8741 pieces of fruit flashers candy taken by 5 colleagues and myself from Felix Gonzalez-Torres' piece entitled "Untitled (Portrait of Ross in L.A.) 1991" displayed at The Art Institute of Chicago. Also, please view under "texts" the letter send to James Rondeau, Department Head Modern and Contemporary Art, Museum of the Art Institute of Chicago; Howard & Donna Stone, Art Collectors who own the piece and have loaned it to The Art Institute; and finally Andrea Rosen, Executor of Felix Gonzalez-Torres' estate.]
Visitor Acceleration, 2003-04, Installation
(Graphite, acrylic, color marker on paper)
Visitor Acceleration, 2003-04, Installation
(Color marker on paper)
Visitor Acceleration, 2003-04, Installation
(10 x 10 x 9 feet)
(Front view)
(Yellow acrylic paint, yellow transparent vinyl roll, zipper, table/stool/chair)
[Four-month installation. This particular shade of yellow causes side-effects such as nausea, hyperactivity, energy, irritation and desire to be outdoors to those who experience the piece for a period of time. We're mostly familiar with this shade of yellow from a popular fast-food restaurant chain.]
Visitor Acceleration, 2003-04, Installation
(Top view)
(Yellow acrylic paint, yellow transparent vinyl roll, zipper, table/stool/chair)
Lobby Series: No.2 (Keyhole)
2002, Video (00:01:38)
[Using watercolors and markers, I drew direclty on the TV monitor, while watching the lobby of the apartment building I was staying at, at the time. The lobby was on view on channel 0 from my apartment 24/7 via the building's surveillance camera.]
Lobby Series: No.2 (Coloring)
2002, Video (00:01:34)
[Using watercolors and markers, I drew direclty on the TV monitor, while watching the lobby of the apartment building I was staying at, at the time. The lobby was on view on channel 0 from my apartment 24/7 via the building's surveillance camera.]
Chicago Series: After Mies van der Rohe
2002, Video
[Using watercolors, markers and white-out, I drew directly on the window glass onto Chicago's city-scape.
Text: Mies van der Rohe was God! And God said: Let there be LEGO and there were Lego blocks!]
Chicago Series: After Sears
2002, Video
[Using watercolors, markers and white-out, I drew directly on the window glass onto Chicago's city-scape by adding a cut-out of the Sears Tower.]
!Xoe
2000, Installation
(Abandoned house, lenses, industrial black plastic sheets)
[A collaborative work by T. Mama, S. O'Sullivan, M. MacGarry, S. Barstow and G. Kotretsos. (Camera Obscura)]
