Documentation of the development of Sonata: Allegro (Das Ding Ansicht). This piece begins with the product of the first movement of the Sonata for Psyche Tattooing: Allegro, a performance-drawing with projection I performed as part of SPACEBODIES, an exhibition-event curated by Andrea Spaziani for the 2016 Transart Triennale, held at The Gym at Judson Church, New York, NY on January 10, 2016.

This painting consists of 28 panels birch wood [19 11 inches x 14 inches, 5 4 inches x 4 inches, and 4 3 inches x 3 inches; 21 panels are 7/8 inches deep, 7 panels are 1 5/8 inches deep; each panel has been mounted, using acrylic medium as the adhesive, with a portion of a painting on Stonehenge paper; materials used on the paper are permanent ink (Sharpie), acrylic and oil paint.

The panels have not been given either a predetermined orientation or configuration/installation. Each installation of this work will be determined by the person installing it based upon the conditions of the environment in which it is being installed.

March 2016 update

Sonata: Allegro (Das Ding Ansicht) was installed along with Motherboard in the University of Rhode Island Providence Campus building as part of the exhibition 'Women Artists Having Their Say' March 2016. Because I was familiar with the space, and the carpeted exhibition panels, I adhered Velcro to all four back-sides of the panels. This allowed the panels to be quickly hung and re-hung on the walls in whichever direction the person hanging the work chose. Because this is a larger group exhibition I offered the curator to come in and initially install the work myself. He selected the location and may alter the hanging at anytime throughout the exhibition. In order to retain a bit more of the concept of the configuration of the work being determined by someone other than myself I had my 14 year old son, Lyonel, accompany me and hang the work. In the beginning he had complete control over the hanging, but as the configuration shifted over the two hours we spent in the space the process became more collaborative. I've included photos documenting the first configuration as well as the configuration arrived at by the end of the installation session. By that point the painting began to wrap around the corner of the exhibition panels.

I have included a photo showing both works as they are being installedas documentation of the space chosen by the curator and as an example of the two paintings in relationship to each other.