Issue 09 Autumn 2012

Brian Gillis is an Oregon-based artist whose multidisciplinary practice examines sociocultural issues that may have fallen on deaf ears, been buried over time, or simply obscured by something else. He considers history both an archive and a mine, as that which chronicles and acts as a catalyst for the reconsideration of one’s world.
Free Radio

2012, 40’ x 25’ x 14’
Mobile Audio/Visual Recording Pod, Library/Reprographics Center, Mobile
Stage, Printed Vinyl Informationals, Miscellaneous Broadcast Technology
Including AM/FM Transmitters and Receivers, Telegraph Transmitters and
Receivers, Weather Station, Microscopes with Slides of Flora, Antlers, Photocopier, Talking Drum, Bullhorn, Geiger Counter, and Meters of All Kinds, etc.
Of Ghosts and Speculation

2012, 40” x 20” x 72”
Nickel-Plated SLS Printed Nylon (From 3D Scan of 19th African American
Century Face Jug from Edgefield, South Carolina), Hand-bound Archival Book of All the Known Scholarship about African American Century Face Jugs, Shard of 19th-Century Alkaline-glazed Stoneware from Edgefield, South Carolina, Magnifying Loupe, Magnifying Dome, External Hard Drive and USB Flash Drives Storing All the Known Scholarship about African American Century Face Jugs, Miscellaneous Hardware, and Archival Linen-covered Board Boxes
On Failure, and a prospect

2012, 24’ x 16’ x 16’
Bristlecone Pine Tree (Pinus Longaeva), Terracotta Pot, Woven Paper Dress, Silk Wedding Dress, Cotton Apron, Leather Baby Shoes, Dress Forms, New COKE Can (c. 1985), Laser Cut Mahogany, CNC Milled MDF, MDF Sheeting, Doug Fir, Miscellaneous Hardware, Welded Vinyl, Printed Vinyl,
Aluminum Flagpoles, Casters, Three-Ring Binders, Miscellaneous Books, and Love Letters