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But objects in the show, such as the flying brooms and wheeled scaffold planks, were designed with these questions in mind. The historical period associated with the expansion of grain production and the elevators needed to handle it was also on my mind. All three elevator buildings that are the sites for these performances were built in the teens or early twenties of the twentieth century. I tried to create a link between that period and the present through allusions to Duchamp and Chaplin. As a sculptor I realized that using wire cable and rigging hardware as a medium allowed me to confront issues of scale. Taken together, the rigging system stretches across the vast volume of the terminal elevator both horizontally and vertically. I enjoy working large, but this project is an opportunity to push my limits far more than I have ever done. I am excited to continue in collaboration with my highly skilled and experienced technical crew the exploration of historical and contemporary issues afforded by this project.
BIO
As a visual artist working in the San Francisco Bay Area and nationally since 1970, Wayne Campbell has participated in a wide variety of creative endeavors including, furniture design, set design, and large scale architectural and sculptural and installations. He has shown his work in New York, San Francisco, and Washington D.C.. (continued on page 3)
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