New Sun at Locust Projects Miami


New Sun
Print, cardboard, paper, wood, cloth and papier-mâché – 3 x 6 x 3.58 m – 2008

Celebrating a decade as Miami’s landmark alternative artspace, Locust Projects organises its 10-year anniversary exhibition called Inevitable Continuum curated by executive Director Claire Breukel and artist Gene Moreno. Looking back at 10 years of exhibitions in the Wynwood artspace, Breukel and Moreno have invited one alumnus from each year to choose their favorite, most promising artist now.

Participating artists are Chris Buening selected by Tatiana Garmendia (shown at Locust Projects in 1999), Mariana Palma selected by Albano Afonso (2000), Ivan Reyes-Garcia selected by Gregory Green (2001), Seamus Harahan selected by Phil Collins (2002), Ronald Cornelissen selected by Beatriz Monteavaro (2003), Paul Cherwick selected by Jon Pylypchuk (2004), Jaime Gili selected by Eugenio Espinoza (2005), K8 Hardy selected by Laura Parnes (2006), Nikos Arvanitis selected by Magnus Arnason (2007), and Justin Hansch selected by Graham Hudson (2008).

Many thanks: Lisan Scheepe, Beatriz Monteavaro, Dan and Kathryn Mikesell.

Sam’s bedroom


Sam’s bedroom
Cardboard, wood, glass, socks in glass case and papier-mâché – 10 x 4 x 3 m – 2004 – XX Multiple Gallery, Rotterdam, Holland.



The multiple FEAR was commissioned by BLANCO Foundation from Rotterdam – it’s a numbered and signed edition of 10 – digital print, stuffed sock and cardboard.

Alien Love Call


Halfway through the Bar Amotz show and after Sean Dower’s presentation, the front space will be given over to the incidental artist’s duo Ronald Cornelissen and Arnold Mosselman.
The work won’t be shown as much as performed – imagine the front space as a theatre without a stage. The décor occupies most of the space. Texts hang from the walls. A cardboard Mount Everest slides into the space through the window. A fake ceiling gradually collapses earthwards, hanging like an echo in the air above the quaking cardboard earth.
This cartoon landscape is the leading lady, shoving the rest of the décor (that seems suggestive of an interior) with its back to the wall. The landscape descends like an alien. The numerous narrative strands of image, text and photos don’t cohere so easily at first.

We’re left asking questions. What’s a transsexual doing in a book-lined room? How does the title of the collection of short stories from the hand of recently deceased finger-picking guitarist John Fahey “How Bluegrass Music Destroyed my Life” relate to this multi-sexual? What’s the link between deep-sea creatures and UFOs and a cupboard full of papier-maché stones? And do the photos of mountains plastered onto a bed represent a frame of mind? “Praxis” seems a response to “No More Art!”.

While “Theorie für Alle” discloses ideas about the perfect artwork. These last titles are large, copied texts written by Henry Flynt, the philosopher involved in Fluxus whose CD “graduation and other new country and blues music” was recently released – a fusion of bluegrass fiddle and drone music. The material is low -tech and the narrative sculptures UnCOOL.

Cardboard, system ceiling, wood, plastic and Xeroxed pictures – 30 x 8 x 4 m – 2001 – W139, Amsterdam, Holland – Collaboration with Arnold Mosselman.

The Haunted Tube under construction in Arts in Den Bosch


Between June 3th until June 25 2000 I showed an installation in Artis, Den Bosch, Holland called Brown Star, Black Cross, God Mountain. For this exhibition I also invited Ben Schot who made a sound piece called The Outsider and who also showed the film Le Vampire by Jean Painlevé, it included a sound piece by Chris Kennedy and hosted a performance by Princess DragonMom called The Haunted Tube.