Dan Peterman’s practice explores the intersection of art and ecology, frequently focusing on networks of recycled and discarded materials that function interchangeably as stockpiles, sculpture, functional objects, and critiques of environmental oversight and neglect. Since the 1990’s Peterman’s work is most often engaged in land-based models of production for cultural activism and urban placemaking. Love Podium is a usable platform, its functionality left in the hands of those who engage it functions as a space for productive, open dialogues with the speakers (in surprisingly intimate proximity to one another) each having their own place from which to make their remarks in turn. It also functions as a space for potential ideological chaos; an environment in which the speakers may be tempted to shout over one another, each speaking to their physically opposing audiences. With this work, Peterman underscores the duality inherent in a truly public forum, and reminds viewers of the social responsibility that comes with using one’s voice.
Dan Peterman’s practice explores the intersection of art and ecology, frequently focusing on networks of recycled and discarded materials that function interchangeably as stockpiles, sculpture, functional objects, and critiques of environmental oversight and neglect. Since the 1990’s Peterman’s work is most often engaged in land-based models of production for cultural activism and urban placemaking. Love Podium is a usable platform, its functionality left in the hands of those who engage it functions as a space for productive, open dialogues with the speakers (in surprisingly intimate proximity to one another) each having their own place from which to make their remarks in turn. It also functions as a space for potential ideological chaos; an environment in which the speakers may be tempted to shout over one another, each speaking to their physically opposing audiences. With this work, Peterman underscores the duality inherent in a truly public forum, and reminds viewers of the social responsibility that comes with using one’s voice.
Dan Peterman’s practice explores the intersection of art and ecology, frequently focusing on networks of recycled and discarded materials that function interchangeably as stockpiles, sculpture, functional objects, and critiques of environmental oversight and neglect. Since the 1990’s Peterman’s work is most often engaged in land-based models of production for cultural activism and urban placemaking. Love Podium is a usable platform, its functionality left in the hands of those who engage it functions as a space for productive, open dialogues with the speakers (in surprisingly intimate proximity to one another) each having their own place from which to make their remarks in turn. It also functions as a space for potential ideological chaos; an environment in which the speakers may be tempted to shout over one another, each speaking to their physically opposing audiences. With this work, Peterman underscores the duality inherent in a truly public forum, and reminds viewers of the social responsibility that comes with using one’s voice.
