If you don’t like the art, wait 10 days.


In this day and age, “art without a cause” is looked down upon. What would a dialog all about the art sound like? Would it stay about the art? If the art is not a rental car for political or cultural issues close to head and heart, do people shrug, "Yeah, well, I mean, I don't dislike it, right?"

untitled sketches, 2019 handmade cast abaca and cotton papers, painted wood, tape, bamboo, fencing wire dimensions vary though the height seems a steady 7’ to 8’


We want to show our works in the context of how we work. We’d like to find a display window space on a busy street and create a piece. 10 days later, we’ll recompose the parts - sometimes dramatically sometimes more simply - until we have a worthy variation. We’ll take away a few or a lot of pieces and add others.

It might take several hours or a couple of days. Then wait 10 days and repeat.

untitled sketches, 2019 handmade cast abaca and cotton papers, wood, insulation foam board, fencing wire, dimensions vary though as a guide the white side panels are 8’ high


Working through variations is how we compose best in the studio. For a show, of course, we’re gunning for “final” pieces. Throw some things on the wall, floor or ceiling, move them around until something clicks, photograph it, put the parts into “no can use now,” and yell Next!

The galleries on this page show variations of something elusive rather the steps directed towards a clear and final portrait. Well chosen moments in time go deeper than a single timeless, for-the-ages work. Show the journey over journey’s end.

They use some of the same parts, so these variations only appear together in a gallery of photographs. Or, in the shop window, they’ll appear one after the next over time.

There’s something fascinating and maybe unbecoming about poking a stick at our notions of how artwork is created to be finished and left alone. Our works are meant to be unique and lasting, but not permanent.

untitled sketches, 2019 handmade cast abaca and cotton papers, insulation foam board, wood, fencing wire, dimensions vary though as a guide the white side panels are 8’ high


Each of these sequences is a rumination at once on the artwork’s singularity in an oeuvre and the enriching context that an artwork can provide within a body of work when it is entangled so closely with the works that come before and after.

For our shop front window work, we’ll invite feedback of any kind. And we’ll show that feedback on a monitor at the side of the window.

LandesSullivan (at) gmail to contact us.