Alexander Rudd

Painted bed frame and boxes topped with trash from the artist's consumption which is lackadaisically corralled with plastic netting reminiscent of a large fish net. Installation lived in Jones Falls stream tunnel laced in graffiti.
Bed 2020 2020 Bed frame, Cardboard boxes, plastic netting, recyclable trash, acrylic paint. 84” x 65” x 47”
This image shows an arrangement of concrete forms casted from trash produced by the artist, installed in Baltimore’s Graffiti Alley.
Untitled Triptych: Graffiti Alley 01 2020 Casted concrete 5’ x 3.5’
This image shows an arrangement of concrete forms casted from trash produced by the artist and spray painted, installed in Baltimore’s Graffiti Alley.
Untitled Triptych: Graffiti Alley 02 2020 Casted concrete and spray paint 5’ x 3.5'
This image shows the negative shapes of the installation from the spray paint overspray.
Untitled Triptych: Graffiti Alley 03 2020 Spray paint overspray 5’ x 3.5’
The first image of the three part series shows the consumer by-product concrete castings balanced as a graffitied rock cairn next to the Jones Falls stream.
Untitled Triptych: Jones Falls 01 2020 Casted concrete and spray paint 36” x 15”
The second image of the three part series shows the consumer by-product concrete castings as a graffitied rock cairn fell over next to the Jones Falls stream.
Untitled Triptych: Jones Falls 02 2020
The third image of the three part series, shows the consumer by-product concrete castings as a graffitied rock cairn missing. This is complemented by the already present graffiti on the bridge in the background.
Untitled Triptych: Jones Falls 03 2020
Statement

The driving force of my work is a deep respect for nature. Someone with a similar paradigm may find my visual language readily or directly, while others may find irony or a serious humor. Steering myself and my work away from futility while also approaching the enormous scale of our environmental crisis is my highest goal. I am developing a practice of shaping space that encourages an accountable slowing of mass consumption and provokes self-realization of the absurd, unsustainable, and undeniable status of all ecosystems. Furthering this paradoxical goal, I hope to achieve this awareness by layering the spiritual pursuit of playfulness, grace, release, and of course love. The idea that we can remain positive in the face of humanity's most critical challenge ironically mirrors my hope that art can truly function inside this reality. I idolize the legacy of land artists, and in turn envy the efficiency of mainstream ideas. This vicious dichotomy shall grow a stage in which to communicate about and through what truly connects us all, Mother Earth. Baltimore’s Rinehart School of Sculpture is my new home base, and I intend to engage the local complexity as a petri dish in which to grow this artistic message.

Rinehart School of Sculpture (MFA) Students