59 fluorescent lighting fixtures suspended in a roofless ruin at The Goat Farm in Atlanta. This project was produce for the Hambidge Auction, a fundraiser benefiting the Hambidge Creative Residency. We produced this over the course of five days. Im indebted to these fine folks for helping to make it happen: Danny Davis, Adrian Barzaga, Elwen Hau, Megan Worthington. The fixtures were donated by People of Resource.
photo Jason Travis
Temporary intervention at "Mi Casa, Your Casa", an installation of 36 red houses in the Sifly Piazza at The High Museum. This project was done in collaboration with WonderRoot. Team: Danny Davis, Erin Canfield, Adrian Barzaga, Elwen Hau. Interview. Video produced by Simply Sir.
This is an ongoing project. Ive always been a bit jealous of land artists, who literally move mountains to create works alongside and in nature. Their ability to raise funding and produce such large scale works warrants my awe. As a poor man's land art, Ive been traveling with an acrylic sculpture, placing in environments and landscapes that I discover.
Dazzle printed in Modern Atlanta's Annual.
Mini Cooper hood. Acrylic paint. On display at Modern Atlanta, and Mini dealearship
Video shot for Sealions.
Director: Kevin Byrd
Director of Photography: Troy Stains
Producer: Jason Travis
Editor: Troy Stains & Jason Travis
Dancer/Choreographer: MaryGrace Phillips
Dolly Grip: Ricky Aguirre
Hair & Makeup: Zoe Simone Bulboff
Assitants: Joey Patino, Keith Edmiston, Sophia Veitch, Allie Bashuk, Annabelle Byrd
Location Manager: Justin Newton
Shot at The Goat Farm, Atlanta
Photos by Jason Travis
"Honey" appears on Sealions' EP Number One Lover / Deer Bear Wolf Records
© 2014 SEALIONS
Written by Sealions (Jason Travis & Joey Patino). Performed by Sealions (Jason Travis, Joey Patino, Keith Edmiston, John Craig). Produced, Mixed, and Engineered by Jason Kingsland at Maze Studios. Atlanta, GA. Co-produced by Joey Patino. Mastered by John Golden & April Golden at Golden Mastering. Ventura, CA.
dripped urethane on wood. 26x36"
Dazzle was a form of maritime camouflage used in WWI (that’s 1915, btw). Its sharp contrasting forms were meant to break up the massing of navy warships. But it wasn't about concealment. It was intended to instead confuse enemies by making it difficult to detect a ship's heading, speed, and range.
Urethane dripped on paper.
32 T5 linear fluorescent fixtures suspended in unfinished space in Atlanta. The lights incrementally rotate along two axis & transpose in the center. This temporary installation was at The Krog Market. The event Wonderfarm combined chef dinner and art installations to jointly benefit Community Farmers Markets & WonderRoot. Lights were donated by People of Resource.
Installation at Dashboard Co-Op's Cosms. The exhibition included ten artists transforming a floor of Two Midtown Plaza, a high rise office building in Atlanta, GA. The ceiling tiles were found objects in the space. The light fixtures are made from dripped urethane, and each possessing its own unique characteristics. The lights were programmable and cycle through color configurations.
Temporary installation in the woods at Hambidge Creative Residency. Wood & paint.
Urethane on Duralex tumblers. For DesignMarketo's Bar Alto pop up bar at Modern Atlanta
Polyurethane drizzled over wood blocks. 12"x12"
(Notes toward the American obsession with placing objects on shelves gently and with great care), 2013
Part of the exhibition OneOne at MOCA GA featuring the inaugural fellows of the Walthall Fellowship by Wonderroot. It's shelving unit adorned by pictorial study models. Each study is a vignette composed of handmade fabrications and object interventions. They combine 3D sculptural pieces and 2D elements. The over all composition nods to the American obsession with the perfectly decorated wall shelf.
laser cut acrylic, 7.5 x 3.25"
36” x 36” acrylic on gessoboard
Stack of 34 ice cream sandwiches, mid melt. Featured in David P. Earle's Open Daybook. Exhibited at LACE. and THIS LA gallery
36” x 36”
vinyl on mirror, southern pine
Bear, 24x36" giclée print on 310 gsm BFK Rives, edition of 4
This work was for Armchair's Tenure Art Fundraiser
10 artists created 10 works for 10 charities to celebrate Armchair's 10th anniversary.
This print was for Noah's Ark, an animal rescue rehabilitation center in Georgia.
porcelain ice cream sandwich.
3D printed bone, wooden table, 24”tall x 16”x16”
With the proliferation of 3D printing technologies, in the near future we may see dentists fabricating teeth or doctors creating organs on-demand. This is an interpretation of FIXED, to repair. A femur bone is modeled and 3D printed. It becomes a replacement leg for the table. The angularity of the form is maintained as a signifier of the modeling process. Photos by Steven Sloan. Interview & feature on Ponoko, "The high art of digitally fabricated design."
The Femur Table appeared in 3D Artist 34
Transpose #11-30,13x19" giclée print on 310 gsm BFK Rives, 20 individual prints
This series of 20 prints was created for Burnaway, a for-local-arts nonprofit in Atlanta.
34 stacked popsicles.
A series of custom puzzles, decoupaged and mounted to handcrafted wood frame. These were part of a show at THIS Los Angeles gallery.
Acrylic, 7.5"x 15" x4"
Kevin Byrd's Transpose series (first unveiled at MA) is a collection of carefully constructed acrylic boxes. Each box is composed of thin layers of colored plastic cut with the precision of a LASER. The shape of each box can best be described as a "house with an inverted roof." The depth of the dimple tricks the eye--when viewed from afar, it seems deeper than when you approach it up close.
"I also like the way the light passing through the layers emits patterns over the course of a sun-filled day, and the way the colors mute on a cloudy one. I was inspired by Donald Judd and the color light works of Dan Flavin. I too like working with industrial-engineered processes & materials. It should be noted that these pieces also make great wheel-stoppers for airplanes."
Typeface of wood scraps found on my studio floor, 16”x16”x7” (40.5x40.5x17cm)
Vinyl on sheet metal with auto paint, 24"x36"
Dad worked on these missiles for most of his career, ensuring quality assurance as the various pieces of these missiles were assembled for final delivery onto nuclear submarines. I grew up with a fascination for the formal graphic markings on each.