Riley Henderson
RH CHI 12 DOUKAN
2012
Many of the ways that we disseminate information here in the U.S. disregard the different lenses through which we view things, and create reactionary stories instead of allowing the viewer to react to the story itself.

By allowing the active element of this piece to escape the falsely neutral gallery space, it is able to transcend even the artists perception of its worth. The piece, in this case a handcrafted chair, embodies a particular history and relevance in its aesthetics and construction. As a functional and found object with no discerning markings, the new owner applies their own value and function, regardless of the artists’ intent. This allows the piece to then live on directly affecting the owner/viewer regardless of its origins or intent. The viewer can then have a less biased and more meaningful experience with the object.

There are certain actions, motives, and events that led me to create this chair, events that may never be questioned in relation to the chairs existence. In regards to its derivation and construction the chair relies on these actions and events, but will rely only on events yet unknown as a point of its future existence.

Originally, this video installation was displayed in my actual studio space, where the chair was constructed. This was to further emphasize the importance of process and the mental as well as physical labor that went into the development of this piece. The “studio” was basically a basement that I had outfitted with a work table, and all of my tools. For the exhibit, I had the video piece projected on one half of the room, directly onto the dirty concrete wall. Because of the projection, the room was unlit, except for a single spot light in the corner that illuminated a large mound of blonde and red wood-chips. As you can view in the video, the chair is now gone, without any connection to myself. This mound of wood-chips represents the negative space of the chair, as well as the only remaining physical elements of the chair. The mound consists of the two types of wood used in the construction. The blonde chips are of freshly chopped ash wood. The red chips are of old salvaged pine lumber.

Special thanks to Asher Danziger of Being Beings for his hard work editing this video and his help in making this a cohesive work of art.
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