A Theory of Ruin Value

Named as a counterpoint to Albert Speer's Theory of Ruin Value, these temporary, site-specific sculptures are intended as a contrast to the hubris of large scale, egocentric projects common among sculptural and architectural efforts. Rather than the grandeur of scale, claims of authority or attempts at permanence that Speer's architecture connoted for the Third Reich, they seek association with immediate, personal spaces and common economic realities. They are humble, quiet works standing in direct opposition to Speer's explicit support of fascism.

The works in A Theory of Ruin Value are composed of inexpensive, familiar construction materials and domestic furniture. The materials are stacked and arranged according to classical and modernist proportions, but never fixed or bound in any way. Like performed music, they are a fleeting experience. When an exhibition ends, the sculpture is disassembled and no longer exists. The materials return to their original usage. Each sculpture is titled for its location and date of occurrence. Improvisation within available space determines each sculpture's arrangement.