Plays off of the relationship between the stability of land masses, water, topographical projections and seismological incidents
(earthquakes) and the connection of these elements with the body and various mechanical, conceptual, geographical and anthropomorphic
projections of that body in relation to architectural, cultural and conceptual space(s) The Earth Fell Flat, And Then Got
Up Again proposes to investigate notions of reality, stability, geology and perception and how these constructs are subverted,
regionalized and internalized via mechanical and metaphorical models of the body's relationship to fabricated and natural
topography
Three aluminum model windmills, standing approximately 8 feet tall, of the type commonly found in the American Midwest
and West are installed in an room, specific architecturally as a mid 1900's Los Angeles building interior. Add, if you will,
The Earth Fell Flat, And Then Got Up Again to the following tenant directory In a single office building in the heart of Los
Angeles circa 1932:
Spiritual Mystic Astrologer; Spiritual Physic Science Church, number 450, Service Daily, Message Circles, Trumpets Thursday,
Circle of Truth Church, Spiritual Psychic Science Church, First Church of Divine Love and Wisdom; Reverend Eva Coram, Giving
Her Wonderful Cosmic Readings, Divine Healing Daily; Spiritual Science Church of the Master, Special Rose Light Circle, Nothing
Impossible
-Carey McWilliams Southern California: An Island on the Land (1946)
The windmills reference the production of water and power but will in fact be dysfunctional. They are used to signify
not only the bodies presence in the landscape but the signaling of human presence in desolate landscapes (Southwestern desert,
Midwestern cornfield, urban street) a conflation of life-giving water (functional windmill) and abandoned windmill (desert
cliché. urban morass). They are a kind of crazy hope.
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