I have come up with some new ideas for the layout of my installation and I shared this with my group on Friday. I want to create a shape similar to an industrial salt dome (see image below) because I feel that this shape is a very strange one; it looks almost alien to me. I still want the outside to be reminiscent of the slightly translucent plastic and wood frame from Kabakov's Palace of Projects, the only problem is, will the shape still read the same way? When talking to my group I didn't really envision exactly how it would look, but creating that type of shape with the Palace of Projects structure, it might not read like a foreign place. However, even though the salt dome looks very alien and out of this world, it still reads as industrial which is a big part of my overall work.
I am now working towards incorporating industrial buildings or aspects of these fixtures that have become a part of our everyday life, especially in New Jersey. Plants, mining, and electrical towers are everywhere, and it is not only their industrial qualities and their cause of pollution and environmental problems that I notice them, but also the status that they have in our way of life, in our culture. I have found that electrical towers remind me a lot of totems and statues erected in the ancient world, people all over the world created ways of worshiping the Gods they believed in, and it seems as though the over bearing, tall, arms outstretched towers represent the electricity gods that we bow to, the oil gods, the cell phone gods that loom in the background of our towns and cities, highways and local roads, trailing off far into the distance but constantly a reminder. How easily we forget that they are there, how easily we can forget how they have completely changed our landscape.
I realized through talking to my painting teacher that when I used to take a lot of photographs of night scenes, tree lines, or even mounds of sediment, rock, or anything that I found to look romantic in a way, but yet strange at other times, industrial or not, I often wanted or liked having the bright orange cones of construction or caution to be lingering at the bottom of the photograph, or bright strips of light from cars rushing past. I looked for the industrial that was so invading my life, I wanted to be reminded of what I was really in front of me--no longer is it just a tree line, no longer is it a vast forest, but a new world, a new place filled with wires, currents, and construction, constantly building, taking down, and putting more cones on the ground and more cars on the roads.
I found an artist, Edward Burtynsky, who photographs oil refineries and other industrial areas like this:
Also artists like Brice Marden and Suzanne McClelland are becoming greater influences in my work.