JADE RUDE

Silkscreen, black flat ink, archival paper, 2016 • Align (Left, Center, Right) consists of three different prints. This project references the 3 main orientations of text in a computer word document. The size of each graphic is of importance – the 12” height references the default font of a word program of 12 points (or 1/12 picas). The font depicted is the default font - Arial.

10 truncated rhombohedrons are stacked on top of one another to form a column that extends from the floor to the ceiling of the average sized indoor structure. This sculpture references the solid form in Albrecht Dürer's engraving titled Melancholia 1 and Constantin Brâncuși's sculpture titled Endless Column.

Not Yet Something explores the space between pictorial, illusionistic and actual space consisting of different geometric abstractions of objects or non-objects that exist across a plane rather than in it. Each form is created from chromed sheet aluminium and painted flat black.

This project incorporate unfixed materials which respond to the architecture of the gallery while expanding the relationship betweensculptural object, space and form – lending form to the ‘material’ not only to give it prominence but also play with our perceptions of two and three dimensional space. Of importance, the black mirrored aluminum sheets in this sculpture are the same size - 2’x8’. The use of these industrial materials gives permanence and importance to the explored impermanent spaces. An artifact of space.

Ninefold is composed of a grid of 9 sheets of 8.5”x11” gold mirrored aluminum. These nine sheets have been hand manipulated into different formations resembling curled paper.

insert - blah blah blah

The Colour Wheel is modeled after Johann Wolfgang Von Goethe's 1810 colour wheel which was the first colour wheel to study the physiological effect of colour.

Safe Places focuses on the in-between spaces in our immediate surroundings. Created from cut-outs in black acrylic mirror (you become the object) their abstract geometric forms are derived from actual-scale spaces one could imagine dissolving into and hiding (the black void) such as the space under the filing cabinet, or the space inside a shoe box.

This project incorporate unfixed materials which respond to the architecture of the gallery while expanding the relationship betweensculptural object, space and form – lending form to the ‘material’ not only to give it prominence but also play with our perceptions of two and three dimensional space. Of importance, the black mirrored aluminum sheets in this sculpture are the same size - 2’x8’. The use of these industrial materials gives permanence and importance to the explored impermanent spaces. An artifact of space.

The Gaze is a video portrait series of different queer individuals that explores a silent yet powerful gesture of communication. In each portrait, the subject makes continuous eye contact for 10 seconds, looking directly into the camera, and hence the photographer, and the viewer. This particular number derives from statistical data, which claims that 10 seconds is the average amount of continuous eye contact an individual can receive without feeling awkward. Black and white HD video, 2015 – future.

The urban gridis comprised of autonomous structures placed in sequence. The leftover spaces between these structures consist of a network of gaps. Essentially, they are architectureʼs negative spaces, invisible yet essential presences that bring balance to compositions and strengthen their design. As in-between spaces without any particular functional designation, their use is open to interpretation and infiltration. In-Between Spaces is an abstract 2-Dimensional interpretation of the gaps and openings around the city that make up the urban environment, challenging viewers to re-examine their physical surroundings. This project seeks to create a dialogue between architectural intentions and the processes by which society appropriates space. Its minimalist use of form and materials also position the sculpture as an artefact, or a monument, to the most neglected and unnoticed areas of our surroundings

Monumental in size, this sculpture explores and questions the relationship between art and architecture. This sculpture is modeled after the first roller coaster built called the Russian Mountain and consists of nine modular track-like structures resembling a section of a roller coaster that can be assembled in different configurations.

Safe Places is composed of layered and interchanging oil drawings on parchment paper. The size of each drawing is magnified times four, to a human-scale. The final collage is arranged in an architectural manner in order to transform the dimension from 2-d into a 3-d social space.

Durer Solid, Form and Flat consists of one form and an unfolded and flattened version - stacked on top of one another. This project explores the space between pictorial and actual space.

Durer Solid Unfolded and Flattened is an unfolded and flattened of the Durer solid. This sculpture explores the space between pictorial and actual space, playing with our perception of two and three-dimensional space.

Solo for Piano explores the John “Cageian discipline” – a random procedure in the act of composition and the ability of a piece to be composed in many ways. A Portrait of John Cage’s Page 18, Solo for Piano, from Concert for Piano and Orchestra, as an art object - Reconficgured -explores the John “Cageian discipline” – a random procedure in the act of composition and the ability of a piece to be composed in many ways. Cage would often connect each note on the pages of his compositions, creating forms of chance. This project represents musical notes of ‘Page 18’ into three-dimensional means.

Corner Shadow is an on going photo series documenting the gradations of grey found in a corner's shadow. This project consists of illustrations of shadows, conveyed in transparencies and then scanned and printed on archival paper – creating a permanent document of the otherwise transient shadow.

Grey Scale is an ongoing series that uses traditional methods and materials, canvas and oil paints, in order to graphically illustrates the shadows of absent paintings. Throughout the history of realism in painting, the shadow has played a pivotal role in creating the illusion of three-dimensionality. Here, illusion become fact, lending significance to the presence of shadows as inseparable components of reality.

An Intervention in Painting is an ongoing series that examines the world’s most expensive paintings sold to private collectors. These sculpture illustrations play between what is real and what is abstract, presenting a new union of painting-sculpture. Using traditional painting methods and materials, each work is the cast shadow, according to museum standards, and is true to the size of the original painting. The colors chosen are in place of the gradation of greys from the original cast and are decided with the consciousness of reality through my own experience while simultaneously betraying it's identity as a painting.

The methods that society has orchestrated for measuring, anticipating and organizing time are fairly humorous when we stop to consider its fluid and essentially ungraspable nature. The Event is a playful take on how we structure time as a system of anticipation. The temporal position of events with respect to the transitory present is continually changing; future events become present, and then pass further and further into the past. This project does not countdown to the final crisis, or to quitting time, or how many days until Christmas, but rather, without any inherent purpose, the days of the public exhibition.

Do what you want is a project consisting of 18-cup trophies with different engraved inscriptions. Instead of 'congratulations’ scripted on each plaque plate, the lyrics from Bad Religion’s song Do what you want are engraved. Each trophy will have a different engraved lyric and be lined up on a shelf in sequence – completing the song.

Dish-on-Dish-on-Dish consists of a variety of cookie-cutter porcelain dishware stacked frailly on top of one another. These various compositions are reminiscent of the domestic chore of washing dishes and then leaving them to dry.

Your very own personal Cheerleader: Hip-Hip is on the left and Hooray is on the right.

Midas Touch is an on going series consisting of gold encrusted ordinary objects. Genuine gold foil carefully covers designated areas of each object, changing their role from function into artifact. These objects are encased in museum domes, inviting speculation as to their nature and purpose.

A two dimensional interpretation of our three dimensional surroundings, tracing life’s domesticity. This project is comprised of two parts – a photograph of the site as well as a sculptural wall work of the electrical cord, yielding an abstract depiction of life.

Animal Farm Explosion is modeled after the book jacket of George Orwell’s novella, Animal Farm. This wall mounted sculpture is composed of 5 unfolded and flattened origami forms which include a barn, cow, pig and two chickens. These forms are stacked on top of one another – presenting a visual explosion of form and color.

Rambler Rebel relates to what is arguably the first “compact” North American car and comments on the current economic downturn of the automotive industry. This sculpture is the unfolded and flattened origami model of the car; it shares the same dimensions. Consumer-grade sheet aluminum, a material used to temporarily cover and repair auto bodies, was folded, enameled and then unfolded. The final sheet - a memory of its original form - rotates on a pedestal, reminiscent of shiny car-show displays.

Gold Frames consists of the silhouettes of 19 century gold gilded frames in modern-day sizes. These frames are constructed from a reflective veneer that shares the same appearance as gold and are collaged on a wall in a pattern imitating the domestic arrangement of a grandmother’s hallway.

Whiteout is an ongoing series consisting of cast office-supply objects. Each object is cast from a porcelain sheet, reminiscent of a white cloth draped over furniture that is no longer in use. The chosen objects are all on the verge of extinction due to the accelerating technological progress of our current digital culture.

High Noon is a site specific installation in an office building. This project recorded sunlight that streamed through the office’s window at noon. Everywhere the sunlight touched, the office’s surface materials were removed (e.g. wallpaper, rug, outlet covers, etc.) - arresting the flow of time.

5-piece Dinette set w/Chandelier and Gold Frames consists of life-sized silhouettes encased in large cardboard display boxes with clear plastic fronts, similar to the commercial packaging of Barbie boxes. The silhouettes are constructed from veneers comparable to each object’s original material. The dinette set, composed of four chairs and one table is created from wood veneer; the chandelier from a crystal lighting panel (the same material used to cover the phosphorescent office lighting fixtures); and the gold frames, faux-gold panel. The materials themselves are mere surfaces used to construct convincing representations of their referenced forms. The boxes lean on one another against the wall in a vacant room. They wait in limbo, to be displayed, stored or unpacked.

Classic Dart is an unfolded paper airplane. A section from a wing of an airplane was metal-braked into the configuration of what a paper airplane would look like when unfolded.

Do-it-yourself space efficient coffins. Each coffin’s sections (tabs) are joined with fixed hinges. The hinges, painted in black dashes, reference a fold-on-the-dotted-line format, referencing DIY.

Drop Shadow consisted of different depictions of shadows cast from absent paintings, according to standard gallery lighting. Each work was painted directly onto the wall, graphically illustrating the different gradations of grey cast by each painting, as if it were to exist.

The light that was cast on the floor by the bordering windows was polished, creating a chronicle of light.

The shadow of a car was captured on blue print paper and then mounted on the walls of an actual parking stall in a car-park building - alluding to what once was.

Bathroom Series includes site specific shadow paintings,in soot, located in abandoned spaces. Each photograph documents the impression of the light/shadow at a specific moment in time or different household objects.