:: PROJECTS > Rebuilding No-Place

Searching beneath the breakers (installation)
video, c-print, tar paper, mylar, foam
2012
Searching beneath the breakers
video, tar paper, mylar, foam
2012
After Robert Smithson, sandbox, Rena Leinberger, made of fake materials
cardboard, contact paper, rubber
variable dimensions
2015
Searching beneath the breakers
video, silent
2:07
2012
sculpture of styrofoam rubble pile by Rena Leinberger
styrofoam, latex paint, laser print
36 x 68 x 60 inches
2010
sculpture of styrofoam rubble pile by Rena Leinberger
foam, latex paint, inkjet print
36 x 68 x 60 inches
2010
sculpture of drywall rubble pile by Rena Leinberger
drywall, tarp, inkjet print, nails
72 x 96 x 48 inches
2009
sculpture of drywall rubble pile by Rena Leinberger
drywall, tarp, inkjet print, nails
72 x 96 x 48 inches
2009
sculpture of drywall rubble pile by Rena Leinberger
drywall, tarp, inkjet print, nails
72 x 96 x 48 inches
2009
photograph of sculpture of drywall rubble pile by Rena Leinberger
c-print
14 x 20 inches
2011
sculpture of formica sidewalk crack and stock photo by Rena Leinberger
Formica, duct tape, inkjet print
8 x 48 x 88 inches
2009
sculpture of formica sidewalk crack and stock photo by Rena Leinberger
Formica, duct tape, inkjet print
8 x 48 x 88 inches
2009
sculpture of painted smoke stack and stock photo by Rena Leinberger
laser print, nails, tarp, paint, cardboard, painters tape
variable
2009
photograph of sculpture of painted smoke stack and stock photo by Rena Leinberger
c-print
8 x 10 inches
2009

These works reconstruct stock photographs. Stock photos function as semiotic marker while erasing traces of place. The source images are often low-resolution, obscuring details of material. The degradation of image allows the insertion of fictions while I replicate and re-stage the image, reasserting a material presence.

This process allows simultaneous non-sites to overlap and interplay. The non-sites are the spaces of the internet, the frame of the architecture used in the relocation to the site of the displayed sculpture, and the image-frame of the re-photographed sculpture. All of these, in different means, flatten the specifics of landscape into ideation or ubiquity.

My reconstructions form a tension between landscapes of the constructed, the unbuilt, the default and the demolished.