Vinyl siding is a material and construction system that is emblematic of American aspiration. It takes a textured legacy - in this case that of Cedar or Pine wood siding - molds it into plastic and makes it into an endlessly repeatable, democratic product. As a sculptor, I have used vinyl siding for several projects, each one exploring both the formal qualities and conceptual implications of such a facade.
In Slanting Niche, I have plugged the material into a curious architectural feature of a newly renovated former warehouse building in Tulsa, Oklahoma’s arts district. The slightly angled vinyl siding is framed by a photograph of an opposing, if visually related architectural facade. The photograph depicts the large concrete wall of a Duty-Free one encounters on the border between Windsor, Ontario and Detroit, Michigan - just before entering the tunnel that connects the two cities, and countries, beneath the Detroit River.
A permanent installation, the work is a subtle if daily opportunity to travel between realities - between artifice and the actual (whatever that may be), between the threshold of suburban periphery and urban centrality, and between the illumination of a facade and the depth of its shadows.