Slightly weathered time machines
3'3" diameter each
Archival prints of unfolded time machines on 310-gram Hahnemuhle Etching paper
24 x 48 inches each
Edition of 5
location: Rufus King Manor Park / Jamaica Center for Arts and Learning, New York
'Kingcharlesrufuskingmartinluther' consists of three icosahedrons approximately three feet in diameter set alongside existing park benches on the grounds of the historic Rufus King Manor in Jamaica, Queens. The piece projects the benches into the future and imagines them as way stations for a time machine, continuing the area’s longtime status as a transportation hub, from an Underground Railroad stop in the 1800s to JFK Airport’s AirTrain terminus. Using a time machine is as dicey as using today’s airlines. A central number (10, 25, 50, or 100) occupies each of the twenty triangular facets, designating the years into the past or future one can travel if that facet is pressed. The facet's three edges further specify destination options, which always reference the machine’s current location (e.g. more or less environmental, more or less phonetic...). 'Kingcharlesrufusking-
martinluther' conceives of travel as simultaneously idiosyncratic (in which a traveler’s position does not relate to a fixed map but to an evolving set of circumstances) and synchronic (in which successive attempts to arrive at a destination replace predetermined itineraries).
Site specificity traditionally demands an artist be knowledgeable about a given site. 'Kingcharlesrufusking-
martinluther' asks that audience members, as fictitious time travelers, be likewise knowledgeable, with accuracy commensurate with contextual awareness.
In 2008, a version of 'Kingcharles
rufuskingmartinluther' was produced for the Jackson Hole Art Center in Wyoming. The unfolded composition recalls the ski resort's double-peaked elevation, with green runs on the lower right and black runs on the upper left. The ratio of green, blue, and black matches that of beginner, intermediate, and advanced, or black diamond, trails.