The sculpture is arranged in lines, suggesting military formations or calculations in a ledger book. The effect divides the works into arbitrary sets while creating narrative. This constrained placement makes palpable the inability to synthesize experience, and the human urge to create meaning where there is none.
References vary widely in this body of work: A photograph of a sculpture of Aretha Franklin from a Swiss billionaire's backyard; a 2009 headline about a woman destroying household objects at a Wal-Mart; an expensive tray; a performance on “America's Got Talent”; the world's largest trash can; an Hermes shopping bag that had been dragged through the dirt and thrown into a construction zone behind a fence; a burro in a hotel lobby; black chaps worn over a Santa Claus costume; a dull wooden knife that a hippie gave to the artist’s father (which he lost); a French child actress; an animal committing suicide; a Sisal area rug in a stranger's home; a mountain in Mexico; a set of stairs; a muddy flood; an attractive business man on his way to work; a telescope; the obituary for actress Zelda Rubenstein; a white wall protecting a garden.
Sam Anderson is an artist (Yale MFA, 2010) based in New York. She has previously shown work at Anthology Film Archives, Art Chicago, Newman Popiashvili, P R I M E T I M E, and White Columns.