The long, narrow latex dangles down from a fifteen foot wall with two feet to spare. The overage spills onto the floor. On top of the wall rests a four by six foot piece of dark weathered wood with two short table legs.
The materials guided the form. I placed a large assortment from my studio “library” of saved fragmented parts and piled them up. Then I adhered the pile with various adhesives until finding the Free Form Air Epoxy.
I covered the piece enough to generate a mysterious form and have a couple but not too many moments of discovery, revealing hints of the underbelly. Exposing the sad remains. Jenny is nobody and everybody.
The form is the series’ most siphoned, abjected assemblage. It is compacted with layers and layers of studio debris spanning from October of 2013 to February 2014.
Tamara Mann referred to it as “a way of taking the physical world’s temperature.”
From a distance the pillar has a unified look, color, presence; but upon close inspection it is filled with hair, dirt, plaster, coffee grinds, concrete, resin, rubber, paper, wood, banana peels, and more. It is a byproduct of the studio.
Consider the Lump, are cobbled concoctions that simulate the ways we ingest the demands of our time, assemblages that require the act of collecting, decomposing, and reinventing. The works swallow the daily bombardment and regurgitate new forms that react against it: sensitive, with muscle.