Boise Weekly Image Archives

The Ferguson Code 

Inanimate Dissection, altered shoe, wax dissection tray, T-pins, video, 2006, 9" x 13" x 3"

"My early work employed procedures used in postmortem examination, dissection, and cross-sectional photography in order to better understand the internal characteristics of common objects. Specific household objects were chosen based on their sociocultural associations and were disassembled following scientific protocol. Video documentation of their painstaking deconstruction is exhibited alongside the object's remains.


Image credit: Jason Ferguson

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Uploaded: Dec 9, 2009 | Post Comments

Image Archives: Stories: Idaho Arts Quarterly

  • <p>
<i>Norman Akers, <i>Rebirth</i>,  oil on canvas, 66" x 60", 2000.</i>
</p>

<p>
<i><i>"In this particular painting, there's a turtle on the left that is very diagrammatic. I'm intrigued formally how marks can convey shifts of thought: the analytic vs. the expressive, which is on the other side of the painting. There is a personal symbology; it is autobiographical. There are lots of roads; it's cruising around Osage country. The car is a Thunderbird, and my dad used to have one. I am exploring these ideas that are not literal: They are my relationship to home, and just me thinking about it."</i></i>
</p>
  • Hear At Last
  • Norman Akers, Rebirth, oil on canvas, 66" x...
  • Norman Akers
  • Dec 9, 2009
  • <p>
<i><i>Inanimate Dissection</i>, altered shoe, wax dissection tray, T-pins, video, 2006, 9" x 13" x 3" </i>
</p>

<p>
<i><i> </i></i>
</p>

<p>
<i><i>"My early work employed procedures used in postmortem examination, dissection, and cross-sectional photography in order to better understand the internal characteristics of common objects. Specific household objects were chosen based on their sociocultural associations and were disassembled following scientific protocol. Video documentation of their painstaking deconstruction is exhibited alongside the object's remains.</i></i>
</p>
  • The Ferguson Code
  • Inanimate Dissection, altered shoe, wax dissection tray, T-pins,...
  • Jason Ferguson
  • Dec 9, 2009
  • <p>
<i>Suvan Geer, <i>Shadow and Ash</i>, loose ash, ribbon and shadow on paper, 14" x 14" x 1", 2008.</i>
</p>

<p>
<i><i>"With </i>Shadow and Ash<i>, the ash is from burnt paper, so it came from a tree that was turned into paper into ash. The ribbon has a temporal quality; there is a sense of uniqueness; knowing that it is only temporary. Once people notice that the ash will blow away, they pause. It slow us down and reminds us."</i></i>
</p>
  • Hear At Last
  • Suvan Geer, Shadow and Ash, loose ash, ribbon...
  • Suvan Geer
  • Dec 9, 2009
  • <p>
<i>Kim Keever, <i>Forest 70B, 2007</i>, c-print, 56" x 84", 2007.</i>
</p>

<p>
<i><i>"This image shows four great trees that have stood their ground as a meandering stream has cut a path around them. I spent a lot of time building these trees which are about 18 inches tall, or should I say were about 18 inches tall. Standing in the water gradually destroys them since the plaster gradually dissolves and the branches fall off. This is true of most of the work I do."</i></i>
</p>
  • Hear At Last
  • Kim Keever, Forest 70B, 2007, c-print, 56" x...
  • Kim Keever
  • Dec 9, 2009
  • Frank Werner,<i> M-65, 25, 62, </i>Mallard Decoys, from front to rear, 2007
<br><br>
<i>"Repetition in folk art and especially in decoy making came as a matter of practical necessity. Many old-time decoy makers used only a single pattern for each species they carved. Some, perhaps because they believed their quarry had become wary, carved their stool in a variety of attitudes, creating a rig that looked more natural on the water. Others pursued aesthetic ends as well as game for the table."</i>
<br><i>&mdash;Frank Werner</i>
  • Art of Deception
  • Frank Werner, M-65, 25, 62, Mallard Decoys, from...
  • Frank Werner
  • Dec 9, 2009
  • <p>
<i>Frank Werner, <i>Sleepers (Two mallard hens and a drake)</i>, installation, Chatcolet Lake, 2003.</i>
</p>
<p>
<i><i>"These sleeper decoys were carved to resemble sleeping or resting birds. Some decoys, whether by sex or by species, have been made to appear more realistic or detailed than others. The degree to which realism might be necessary for effective function cannot be measured. In the absence of empirical data, this level of representation could follow either custom or visual preference. Mimetic efficiency, that is, maximizing resemblance while minimizing investment, seems to be a good compromise."</i></i>
</p>

<p>
<i>&mdash;Frank Werner</i>
</p>
  • Art of Deception
  • Frank Werner, Sleepers (Two mallard hens and a...
  • Frank Werner
  • Dec 9, 2009
  • <i>Inanimate Dissection, altered shoe, wax dissection tray, T-pins, video, 2006, 9" x 13" x 3" </i>
<br><br>
<i>"My early work employed procedures used in postmortem examination, dissection, and cross-sectional photography in order to better understand the internal characteristics of common objects. Specific household objects were chosen based on their sociocultural associations and were disassembled following scientific protocol. Video documentation of their painstaking deconstruction is exhibited alongside the object's remains.</i>
  • The Ferguson Code
  • Inanimate Dissection, altered shoe, wax dissection tray, T-pins,...
  • Jason Ferguson
  • Dec 9, 2009
  • <i>Karena Youtz is a poet who lives and works in Boise, Idaho.</i>
  • Poetry
  • Karena Youtz is a poet who lives and...
  • Karena Youtz
  • Dec 9, 2009

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