Numbers 23:23

Numbers 23:23 (What hath God wrought!), 2018
Solar Studios at Rice University, Houston Tx

Created for The Ends of Our Index Fingers Are Mute at the Solar Studios, Numbers 23:23 (What hath God wrought!) turned the exhibition space into the sculpture. Each artist in the exhibition was given a container as a place to present work, instead of filling the space, Brown sealed it shut with a chain and padlock, closing off the interior and leaving visitors on the outside.

Inside, a smoke machine controlled by a programmable timer switches on and off in the rhythm of Morse code. The pattern spells out “What hath God wrought,” the message Samuel F. B. Morse sent in 1844 to open the American telegraph era. The phrase comes from the Book of Numbers, chapter 23, verse 23. As smoke fills the container, it seeps through the seams and gaps and rises into the air, so the sealed box appears to be sending a signal in the middle of the Rice University campus.

The piece drew the attention of many passersby who didn’t know it was an artwork. Over the course of the exhibition, police and the fire department were called to the site several times.

The work reflects on the unintended consequences of our efforts to solve problems. Powered by the sun and staged within a solar-energy research space, the container points to our search for clean, renewable energy, and to the way each fix tends to create a new problem. When we put out one fire, we often start another. Morse’s message, first sent as a marvel of human progress, becomes a question about what our inventions set in motion.

.– …. .- – / …. .- – …. / –. — -.. / .– .-. — ..- –. …. –

Partially Buried Cereal Aisle

Partially Buried Cereal Aisle, 2013
Gondola shelving, cereal boxes, concrete, and hardware
48″ × 60″ × 24″

A single unit of grocery store shelving, tipped back and partially sunk into the ground, holds roughly forty boxes of cereal. Each box has been emptied and refilled with concrete. The cereal aisle, among the most ordinary sites of everyday choice, becomes a monument to the sheer volume of decisions contemporary life demands.

Faced with dozens of nearly identical products, even a trivial decision can become weighty, and the fear of choosing wrong can leave us unable to choose at all. Here, that paralysis takes physical form: the boxes can no longer be lifted, compared, or taken home. They have stopped moving, and in stopping, they have begun to settle into the earth like fossils.

The work references Robert Smithson’s Partially Buried Woodshed (1970), for which Smithson piled earth onto a shed until its central beam cracked, then left the structure to decay. Partially Buried Cereal Aisle is likewise half-claimed by the ground and meant to change over time. Exposed to sun, rain, and wind, the printed cardboard fades, softens, and falls away. Eventually, only a spare geometric structure of metal and concrete remains: a relic of the present, and the skeleton of an aisle built around choice.

Several Ways to Start a Fire

Several Ways to Start a Fire, 2013
Twigs, rope, steel wool, battery, magnifying glass, aluminum can, chocolate, underwear, close pins, condom, water, and hardware

Wonderwall

wonderwal


Wonderwall (karaoke booth), 2014
Shower curtains, shower fixture and caddy, iPad, microphone, headphones, speaker

Wonderwall was a site-specific installation that consisted of a karaoke booth that mimicked a shower stall.  Individuals were instructed to sing along to the music they heard threw headphones as the lyrics appeared on a monitor in front of them. The a-cappella vocals were audible throughout the gallery space during the exhibition. Each performance was recorded and layered into a single track, creating the illusion of a choir.

Escape Plan

Escape Plan, 2012
Drafting compass, drywall, motor, hardware

Columns

 

Act III: Columns (1-3), 2015-2016
Artificial turf, black beauty abrasive, plaster, cement, wax, chocolate, bacon fat, Vaseline, clay, resin, foam, glass, ink, debris, found objects, speakers, and record player
Dimensions variable

Damemoto

 

Damemoto, 2012
Reclaimed wood, weeds, lights, hardware 

Transpacific

Transpacific (a line drawn from Texas to Japan), 2012
194 #2 pencils, paper, steel, pencil sharpeners
40″w x 72″h

Purification Station

Purification Station, 2013
Plastic, Trinity River water, pecan & rose artesian charcoal, white marble chips, beach sand from Exotic Locations™, pump, and glass beverage dispenser
50″w x 61″h x 35″d

15,540 Miles

15,540 Miles, 2002
School desk, #2 Pencils, sawdust, chalkboard, cyanotype on carpet
Variable dimensions

Side A’s

Side A‘s, 2016
Silicone mold, and unique resin cast LP. Each color of silicone signifies a different vinyl record used to create the mold. 
14” x 14”