CATHERINE FAIRBANKS       is under construction, pardon me 2010  Digital print on habotai silk
The Bridge
2010
Digital print on habotai silk
40" x 36" x 4"

Thank you to Kija Lucas for the help in taking these images in 2010.

CATHERINE FAIRBANKS       is under construction, pardon me 2010  digital image printed on habotai silk
installation images from exhibition, To Form
2010
digital image printed on habotai silk
80" x 40" x 4"

Thank you to Kija Lucas for the help in taking these images in 2010.


CATHERINE FAIRBANKS       is under construction, pardon me 2010  Thread, sleeping bag, ceramic, wood
Donald and Phyllis Will Never Meet
2010
Thread, sleeping bag, ceramic, wood
80" x 75" x 20"

CATHERINE FAIRBANKS       is under construction, pardon me 2010  Hammers, wood, bandaids, chair, and adhesive
untitled (for Dad)
2010
Hammers, wood, bandaids, chair, and adhesive
60" x 48" x 40"

Distant to the Person but Close to the Bridge
2010
Site specific sculpture, solo audio work 10:03, each chartered boat trip, round trip roughly 20:00
The work could be accessed throughout a 3 hour period, but the duration of each trip in the boat out to the specified place in the Bay and back to the Ferry building was 20 minutes.

The work as whole was authored in collaboration with Laura Boles Faw, with whom I have made many collaborative works on boats in and around the San Francisco Bay from 2009-current. The bridge and its changing appearance as a sculpture, once you are in the water, under it, and moving around it, was an interest in our work from the beginning.

This work was created for our thesis exhibition from the San Francisco Art Institute, which was held at the Ferry Building on the Bay. People learned about the work through a caller who directed them to a shuttle which took them as a discrete group to a nearby public dock where they could board the boat. The work operated as a site of transformation: people who boarded the boat and experienced the work together would return to the Ferry Building as a group having experienced a durational work outside of the exhibition together.

Once the boat reached a specified position in the water, in relation to the bridge, my solo audio work began to play. The audio work is a description of my relationship to the Golden Gate Bridge, for which my Great Uncle Charles Clarahan, was a major contributing mathemetician and engineer. In the sound work which played on board, we are asked to decide how responsible we are for each other as strangers, and how responsible we are for the actions of our ancestors.

One feature of my long-term collaborative work with Laura Boles Faw has been to make work where solo contributions by one of us is contained within collaborative work. Our collaboration always seeks to open up boundaries of authorship and the boundaries of exhibition-making.

CATHERINE FAIRBANKS       is under construction, pardon me 2010  digital photography
Tableau Vivant for Adobe Books Backroom Gallery
2010
digital photography

From right, Marya Krogstadt, Alexis Arnold, Nancy de Y Elkus, Ruth Hodgkins, Devon Bella, Laura Boles Faw, Christina Corfield, Rashin Fahendajah, Catherine Fairbanks, Mimi Moncier.
photo by Pamela Belknap

accessible here: http://adobebooksbackroomgallery.blogspot.com/2009/08/adobe-books-parlor-pistils.html

Me As the Ox
2009
performance
variable

CATHERINE FAIRBANKS       is under construction, pardon me 2010  denim, wood, glass, candles
femitude
2008
denim, wood, glass, candles

CATHERINE FAIRBANKS       is under construction, pardon me 2010  parachute, wood
untitled
2008
parachute, wood

CATHERINE FAIRBANKS       is under construction, pardon me 2010  fabric, wood
untitled
2008
fabric, wood