Portfolio > DON'T SHOOT

Installation Art, Hanging Sculpture
Hanging Sculpture
2017
Don’t Shoot  96” x 23” x 120”  Installation Art
Installation Art
96” x 23” x 120”
2017
Ghosting Guns 1 18” x 24” Mixed Media on Canvas
Mixed Media on Canvas
18” x 24”
2017
Ghosting Guns 2  16” x 20”  Mixed Media on Canvas
Mixed Media on Canvas
6” x 20”
2017
GHOSTING GUNS
MIxed media on pine
6" x 5.25"
2015
DON'T SHOOT
PRINT
11" X 8.5" and upwards
2014
DON'T SHOOT
INTALLATION ART- toy guns, miniature military guns in vintage baseball card sleeves, rope, fiber, ribbon, tape, twine and plastic hanging from aluminum wire sculptures
2014
DON'T SHOOT  Photo By Julianne Capati
INTALLATION ART- toy guns, miniature military guns in vintage baseball card sleeves, rope, fiber, ribbon, tape, twine and plastic hanging from aluminum wire sculptures
4' - 8' W, 5'-12"L
2014
DON'T SHOOT    Photo By Julianne Capati
INTALLATION ART- toy guns, miniature military guns in vintage baseball card sleeves, rope, fiber, ribbon, tape, twine and plastic hanging from aluminum wire sculptures
4' - 8' W, 5'-12"L
2014
INTALLATION ART- toy guns, miniature military guns in vintage baseball card sleeves, rope, fiber, ribbon, tape, twine and plastic hanging from aluminum wire sculptures
INTALLATION ART- toy guns, miniature military guns in vintage baseball card sleeves, rope, fiber, ribbon, tape, twine and plastic hanging from aluminum wire sculptures
9'X3'X8'
2014
$1000
A photo of miniature military guns stacked together in vintage baseball card sleeves.
Photo
2014

My art is on the side of life that insists, “Don’t Shoot” – the title is a directive. DON’T SHOOT is a series of site-specific instillations, paintings, encaustics, and digital images created out of a desire to discourage violent behavior and its mimicry. I place replicas of firearms in an interactive setting to call attention to the need for gun control. Presenting guns out of context is my attempt to suspend the malevolent and careless use of deadly weapons.
Perhaps it seems contradictory that I have tied my antipathy for violence – as well as dozens of toy and miniature military guns – to garlands that are generally used as accessories of celebration. But as decorative art, guns are harmless; attached to thousands of feet of hand-cut garlands made from fiber, Mylar, tape, twine, and plastic they are reduced to their elemental properties of plastic, metal, light and sound. I’ve affixed hundreds of beads, bells, charms and mirrors to the garlands as well.
Hung as “floor-length chandeliers” the instillations invite the viewer to touch and be touched by strands of reflection and fabric that are suspended from aluminum wire sculptures. Showers of transparency reflect the person within and the exhibition space beyond. Various gauges of transparent plastic recast light. Bright fabrics in solid colors and patterns reflect off plastic. Within, the guest becomes performance artist, transparent to others and to herself, in a neutralized zone. People who choose to interact by pulling a trigger revert the gun to its dangerous identity. Will the participant shoot for the experience of pulling the trigger? Toward someone? Randomly? At oneself? It publicizes the decision and puts the shooter on display.


As “decorative” art, the guns are harmless, “reduced” to their elemental properties of plastic, metal, light and sound – attached to thousands of feet of hand-cut garlands made from fiber, mylar, ribbon, tape, twine, and plastic hanging from aluminum wire sculptures. I’ve affixed hundreds of beads, bells, charms and mirrors to the garlands as well.

The installation is a space viewers may enter. Showers of transparency reflect the person within and the exhibition space beyond. Hung as “chandeliers,” these sculptures invite the viewer to touch and be touched by strands of reflection and fabric. I am inspired by garlands as accessories of celebration. Various gauges of transparent plastic reflect light. Bright fabrics in solid colors and patterns reflect off plastic. The guest becomes performance artist, transparent to others and to herself, in a neutralized zone.

People who chose to interact by pulling a trigger revert the gun to its dangerous identity. Will the participant shoot for the experience of pulling the trigger? Toward someone? Randomly? At oneself? It publicizes the decision and puts the shooter on display.


Cover Photo: Julianne Capati