There is a bomb reference in how the pieces are constructed, but they also refer to the idea of giving things that are regularly discarded new life. The play on the abbreviation and the overall look of the piece gives the work a playful yet serious experience in regards to what is curently happening in society. With these sculptures my purpose was to create kinetic works that have a visual element as well as an audible one. That triggered the I.E.D series, which is a continuing project. The dialogue unfolded and the sculpture was made.
#SIX PACK HOLDER UNFOLDER HOW TO#
That began a line of thought about how to incorporate these things into a work or works. (improvised electronic device) sculptures I started with a paper coffee cup because I just found myself constantly in the presence of them, using them, seeing other people with them, and walking past them in the street. Usually it’s something that continues to catch my eye or that I find myself in constant interaction with. When I’m searching, materials tend to dictate how they are to be looked at, used, or reconstructed. Everything has a life and some sort of energy to it.
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MZ: It’s important for me to use what’s around. MD: You use both art materials (oil paint and canvas) and everyday items (six-pack holder, coffee cup) in your practice can you talk a little about how you approach each type of material differently? With surfboard making the end result rewards you over and over again because you get to ride the thing, and that is the best part. It is pretty much the same feeling as when finishing a painting, sculpture or whatever creative project you may be working on. Like any piece, once you get in the zone and the steps are laid out, the excitement of finishing the work grows stronger. With that being said, building a surfboard is very much part of my art practice. The process can be repetitive and somewhat performance-like. There is a lot of visualizing and physical feeling of the board. A lot of the process is thinking about how the board will work in certain conditions, which determines what kind of board you would make. Through my art practice I developed a skill set that gave me the confidence to give it a go. Marc Zajack: I’ve wanted to make a surfboard since I was a kid. Micah Danges: You make surfboards-can you talk about how that happened? Do you think of this as part of your art practice? The following conversation took place over the past few months. At any given time he is quietly balancing multiple projects: working on paintings, building a kinetic sculpture, designing packaging for a tape release, or shaping a surfboard in the basement of his Fishtown row house. Marc’s work regularly migrates between different mediums, and I have always been drawn to the way that he combines everyday items in thoughtful and unusual techniques. I met Marc Zajack when we were both students in the art department at Kutztown University.
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