59-22 Madison Street, May 3 - 14, 2024, in a modest exquisite renovation by Glickman Schlesinger Architects in Ridgewood Queens "Consider the concept of infinity and the body, and its’ relationship to space.” Jordan Strom
       
     
works / Hole
The sun had become a light yellow yolk and was walking with red legs across the sky . Zora Neil Hurston
       
     
works / Figures
Installation view, Working On It: New Canadian Sculpture, The Beaverbrook Art Gallery, January 20-May 12, 2024, Fredricton NB Canada
       
     
works / Working On It
Proxima Centauri, filament, magnet, 12.47 x 15.09 x 6.30 cm True friends are like stars. You can only recognize them when it is dark around you. -Bob Marley By pairing geometry we don’t completely understand with unfamiliar colours and irregular p
       
     
works / The Star Series
“The most famous of all hexagonal conformations and perhaps the most beautiful is that of the bee’s cell.” -D’Arcy Wentworth Thompson, On Growth and Form (1917).
       
     
works / Politics and Pollinators
The Cloud Chamber, 2011, 96” length x 48” width x 48” height Made in collaboration with Dr. Justin Albert and the department of Physics & Astronomy, The Cloud Chamber is a functioning particle detector built for the express purpose of making co
       
     
works / The Cloud Chamber
BIG BUBBLE (2015), aluminum, 1/4” plate x 48” diameter
       
     
works / Bubble
Bullseye (1997) is a five foot circular mirror presented in an eponymous exhibition with Mitchell Wiebe at The St. Mary's University Art Gallery in Halifax Nova Scotia Canada, from April 3rd to April 30th, 1997 by Gordon Laurin, "The viewer's reflec
       
     
works / Bullseye
studio view, 2023, Lovitt NYC
       
     
works / The Effect Effect
The interior of an octohedron is divided into twenty planes, ergo The Spark Chamber, 2011, steel, lexan (photo: Mike Wilkes)
       
     
works / The Spark Chamber
Being Close is a sculpture with several opportunities for public engagement that, as a piece of art, invites careful consideration. A book moves through the trees above three planar forms. The book is open and face down, as if temporarily set aside,
       
     
works / Being Close
Recognize Everyone (2018) is a large scale, site specific work, made for CAFK+A 18, June 2018, in Kitchener-Waterloo Canada, that reuses existing infrastructure. A three story exterior stairwell serves as the canvas for a starburst or spatial mural
       
     
works / Recognize Everyone
Four sculptures made in Highland Park, Los Angeles one summer in Julie Deamers residency, Outpost for Contemporary Art. 3/4” plywood, chalkboard paint, piano hinge, dimensions variable, 2006
       
     
works / Little Dippers
FLASH, 1998, artist-made outfit photographed on the pier by David Lawson. It was the darkest place we could think of. The skirt was made entirely wit 3M scotch lite styled with a denim jacket, obviously. ,Halifax Nova Scotia Canada
       
     
works / Flash
installation view, NYABF, 2008 (essay: Introduction, p.11, The Thing The Book, Chronicle (SF: 2014), Jonn Herschend & Will Rogan) You may consider this the front desk, or the docent, or the wall text. It is these thngs as much as it is the intr
       
     
works / Being | Event
Either this is madness or this is Hell. “It is neither,” calmly replied the voice of the Sphere. “It is Knowledge. It is Three Dimensions. Open your eye once again and try to look steadily.” - Flatland, A Romance in Many Dimensions , Edwin Abbott Ab
       
     
works / Perfect Solids
Installation view, Snowmobile, 2000 (essay: Reid Shier , “A Thousand Miles of Dust and Ashes”, Contemporary Art Gallery, Vancouver: 2003) In Snowmobile (2000) Pullen carved a small car to scale out of a snow bank in the suburbs of Philadelphia. He
       
     
works / Snowmobile
‘… all worldviews are partial. Some have a wider window of consciousness but all have blind spots.’ -Glenn Aparicio Parry Blind Spot (2010) is an 18 foot tall freestanding sculpture made of aluminum and reflective material. 9 feet in width and leng
       
     
works / Blind Spot
Snapshot, 1998, taken in Value Village, Dartmouth N.S. Canada, 4 x 6 in [10 x 15 cm], photo: S. Plotnikoff Jenifer Papararo is a writer and independ­ent curator. She is currently a member of Instant Coffee, an ambiguously sincere collective wit
       
     
works / Value Village
installation view (2018), courtesy of The Perimeter Institute Every object in this series is based on a star. 100 Closest Stars is a series of sculptures based on astronomical data from NASA. The artist proof is in the Perimeter Institute for Theor
       
     
works / 100 Closest Stars
street view, 2500 SUPERBALLS, 1997 (collaboration: Sandy Plotnikoff ; photo: David Christensen; review: Graham Long, ‘It Takes Balls’, The Coast) It was years in the planning, but it only took about ten seconds for 2,500 little rubber balls to hit
       
     
works / 2500 Superballs
Food sells twice, first as ingredient, then as gift. About the project Jim Rossiter writes, “Halifax police are investigating the mysterious case of the sugar cookies smuggled onto shelves in four Halifax Sobeys supermarkets yester­day. John Keizer,
       
     
works / Eat Your Words
Installation view, 1:1 Recent Halifax Sculpture, SL Simpson Gallery, April 4-30, 1996, Toronto Canada (essay: Kenneth Hayes ) 1:1, the scalar relation that denotes life-size, can stand as an emblem for the idea that has dominated recent sculptural
       
     
works / 1:1 Recent Halifax Sculpture
Installation view, Ecologies & Communities, (with Gabrielle L’Hirondelle Hill and Jagdeep Raina), The Community Gallery, April - November 2022, Toronto Canada
       
     
works / The Bee Series
Endless Drawing, 2001, white ink on 1/4” black cast acrylic, 6’4”h x 8’4” wide (75 x 100 cm), mounted with mirror cleats Drawn by hand over three days for an exhibition with Sandy Plotnikoff at the Helen Pitt Gallery, Vancouver BC Canada, from May
       
     
works / Double Meandering Line
Sam, 2021 in 2020 artists were drawn through the broadcast medium of zoom. Unaware of being drawn the sitters are rendered mid-sentence, describing their plans for their work, from a newly established place of quarentine.
       
     
works / Sixteen Artists
INSTALLATION VIEW, HOW SOON IS NOW, VANCOUVER ART GALLERY, 2009 In 2005, Lucy Pullen hired a pilot to take her up in a Cessna over Vancouver Island, and then captured the event through the lens of a camera. With an impromptu flight plan, the pilot
       
     
works / Tricks in a Cessna
A series of landscapes drawn within abstract geometric shapes. Aluminum planes from The Spark Chamber, a sculpture for visualizing cosmic rays, are used as a drawing surface for these monotypes. oil on paper (Rives BFK), 2013, 20 x 26 inches (50.8
       
     
works / monotype
View from Tumblin Island, facing east, 2022, bic pen on stationary, 6 x 8 inches (15.2 x 20.3 cm)
       
     
works / Island views
1 mm reflective thread & ash, 2005 dimensions variable (photo: Nathan Bomford, essay: Jordan Strom, Art Infinitum: A Conversation on Contemporary Art and the Infinite, Surrey Art Gallery, 2009) On Sunday, October 25, 2–3:30pm at the Surrey Ar
       
     
works / Infinite Outfit
       
     
works / Shobac
“Darling, the legs aren’t so beautiful, I just know what to do with them .” Marlene Dietrich
       
     
works / Legs
Poem, 1999, a drawing that scales, blue pen on white paper, 30 x 24 inches
       
     
works / Poems for Rooms