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TIME SPINE
TIME SPINE

The widest part of the funnel-like spine was 10in wide. It extended 26ft in length where the width of the last plexi-glass disc measured 1/2in wide. Plexiglass, steel, wire, wood, China marker, and daylight 6 x 7 x 7 Feet 1999 Copyright © 2013_Beth Solin_not for use or duplication without written consent

TIME SPINE
TIME SPINE

The widest part of the funnel-like spine was 10in wide. It extended 26ft in length where the width of the last plexi-glass disc measured 1/2in wide. Plexiglass, steel, wire, wood, China marker, and daylight 6 x 7 x 7 Feet 1999 Copyright © 2013_Beth Solin_not for use or duplication without written consent

TIME SPINE
TIME SPINE

The widest part of the funnel-like spine was 10in wide. It extended 26ft in length where the width of the last plexi-glass disc measured 1/2in wide. Plexiglass, steel, wire, wood, China marker, and daylight 6 x 7 x 7 Feet 1999 Copyright © 2013_Beth Solin_not for use or duplication without written consent

TIME SPINE

 

6 x 7 x 7 Feet

An installation that recorded memory and the fourth-dimension, in the form of repeating shapes, images, and  forced vanishing points. 

Copyright © 2017_Beth Solin_not for use without written consent

SPINE IN/SPINE OUT
SPINE IN/SPINE OUT

This installation was a funnel shape with 12 panes of main glass and 200 panes of secondary glass. The main 12 panes of glass had translucent images of post-war industrial landscapes and dwellings painted on them. Some of the glass was cut away, the result of which resembled lace. 12 x 17 x 75 Feet Plexiglass, steel, wire, wood, shellac, dye, and daylight 2000 Copyright © 2013_Beth Solin_not for use or duplication without written consent

SPINE IN/SPINE OUT: DETAIL
SPINE IN/SPINE OUT: DETAIL

DETAIL of the wooden bridge weaving through the piece and penetrating the glass.The bridge was 75ft long, starting out at a width of 9 ft, and gradually narrowing to a width of 1/2in. 12 x 17 x 75 Feet Plexiglass, steel, wire, wood, shellac, dye, and daylight 2000 Copyright © 2013_Beth Solin_not for use or duplication without written consent

SPINE IN/SPINE OUT: DETAIL
SPINE IN/SPINE OUT: DETAIL

DETAIL of vantage point through 200 windows vanishing in perspective. The first window was 24 x 18 x 1/2 Inch Seventeen feet later, the last window was a mere 3/4 x 1/4 x 1/32 Inches, paper thin. The windows, like the bridge, were held together by wire. The remaining 20 windows poke out of a warehouse window, like a finger. Plexiglass, steel, wire, wood, shellac, dye, and daylight 2000 Copyright © 2013_Beth Solin_not for use or duplication without written consent

SPINE IN/SPINE OUT: DETAIL
SPINE IN/SPINE OUT: DETAIL

DETAIL of view through multiple layers of glass upon which translucent images of post-war landscapes and dwellings were painted. Some of the glass was cut away, the result of which resembled lace. 12 x 17 x 75 Feet Plexiglass, steel, wire, wood, shellac, dye, and daylight 2000 Copyright © 2013_Beth Solin_not for use or duplication without written consent

SPINE IN/SPINE OUT: DETAIL
SPINE IN/SPINE OUT: DETAIL

DETAIL of the bridge exiting through the front of the piece, after having woven through, and penetrated several layers of glass. The bridge was 75ft long, starting out 9 ft wide, and narrowing to a width of 1/2in. Plexiglass, steel, wire, wood, shellac, dye, and daylight 2000 Copyright © 2013_Beth Solin_not for use or duplication without written consent

SPINE IN/SPINE OUT: DETAIL
SPINE IN/SPINE OUT: DETAIL

DETAIL as the 75ft bridge exits the front of the piece, after having woven through, and penetrated the glass. The bridge ends absurdly by plugging into a hole the wall at which point it was only 1/2in wide. Plexiglass, steel, wire, wood, shellac, dye, and daylight 2000 Copyright © 2013_Beth Solin_not for use or duplication without written consent

SPINE IN / SPINE OUT 

12  x 17 x 75 Feet

An installation with multiple vanishing points and hundreds of glass layers with transparent paintings. While standing in-between the layers, the viewer or voyeur, might have seen his or her own reflection, the reflection of another, or someone else on the other side of the glass staring back at them.

Copyright © 2013_Beth Solin_not for use without written concent

ALL TO NOTHING/NOTHING TO ALL
ALL TO NOTHING/NOTHING TO ALL

The largest arch, seen to the right, was 500 lbs and had the largest components. Burnt wood, steel, hardware, glass, shellac, dye, daylight 2000 Copyright © 2013_Beth Solin_not for use or duplicat

ALL TO NOTHING/NOTHING TO ALL
ALL TO NOTHING/NOTHING TO ALL

DETAIL underneath the arches. Each arch is a box with custom metal strapping holding the joined vertical pieces together, like the inside of a barn. All of the pieces were pre cut, individually burned, and then assembled. Burnt wood, steel, hardware, glass shellac, dye, daylight 2000 Copyright © 2013_Beth Solin_not for use or duplication without written consent

ALL TO NOTHING/NOTHING TO ALL
ALL TO NOTHING/NOTHING TO ALL

DETAIL at the end of the arch tunnel looking towards a reflection of sky in a small 4 x 6 Inch mirror. It created an illusion the that there was a panning lens moving across the sky. The image of the sky shifted as the viewer walked through the piece. Burnt wood, steel, hardware, glass shellac, dye, daylight 2000 Copyright © 2013_Beth Solin_not for use or duplication without written consent

ALL TO NOTHING/NOTHING TO ALL
ALL TO NOTHING/NOTHING TO ALL

DETAIL of the arch legs. Each arch is a box with custom metal strapping holding the joined vertical pieces together, like the inside of a barn. All of the pieces were pre cut, individually burned, and then assembled. Burnt wood, steel, hardware, glass shellac, dye, daylight 2000 Copyright © 2013_Beth Solin_not for use or duplication without written consent

ALL TO NOTHING/NOTHING TO ALL
ALL TO NOTHING/NOTHING TO ALL

Detail of the arches underneath the flying buttresses as they diminished and became rib-like. They diminished in size so much so that they were no longer boxes, and became rickety pieces of burnt wood that needed one another to stand up. Burnt wood, steel, hardware, glass shellac, dye, daylight 2000 Copyright © 2013_Beth Solin_not for use or duplication without written consent

ALL TO NOTHING/NOTHING TO ALL
ALL TO NOTHING/NOTHING TO ALL

Detail underneath the flying buttresses. POV at the widest space where the structural components were the smallest, looking towards the narrowest end where the structural components were the largest. This "reversal" distorted the perspective of what was converging and what was diverging. Burnt wood, steel, hardware, glass shellac, dye, daylight 2000 Copyright © 2013_Beth Solin_not for use or duplication without written con

ALL TO NOTHING / NOTHING TO ALL

12  x 16 x 50 Feet 

An installation comprised of two forced vanishing points that were juxtaposed, one condensed and the other was expanded. Every piece of burt wood, and all  30,000 rusted bolts and screws diminished or increased in size depending on their location. The entire piece was suspended from the ceiling.

Copyright © 2013_Beth Solin_not for use without written concent

BODYJOISTS/SPINETRACKS: STUDY
BODYJOISTS/SPINETRACKS: STUDY

STUDY for installation. Plexiglass, China marker, and daylight 4 x 3 Feet 2002 Copyright © 2013_Beth Solin_not for use or duplication without written consent

BODYJOISTS/SPINETRACKS: STUDY
BODYJOISTS/SPINETRACKS: STUDY

STUDY for installation. Paper, Ink, and graphite 2 x 3 Feet 2002 Copyright © 2013_Beth Solin_not for use or duplication without written consent

BODYJOISTS/SPINETRACKS: STUDY
BODYJOISTS/SPINETRACKS: STUDY

STUDY for installation. This drawing is 9ft high ceiling to floor and then extends out from the wall across the floor, another 8ft. In the finished piece, the floor hovers 3ft above the ground supported by a platform. Canvas, India ink, graphite, and wood 17 x 15 Feet 2003 Copyright © 2013_Beth Solin_not for use or duplication without written consent

BODYJOISTS/SPINETRACKS: MODEL
BODYJOISTS/SPINETRACKS: MODEL

MODEL 1/8th scale. Inside view through peek-hole. Front wall was 10 x 9 Feet. Rear wall was 3 x 2.5 Feet. The depth of cornucopia box was 11ft. The rear wall butted up to a window where light came through a 6 x 4 Inch hole. All of the inside parts get smaller in scale as they move towards the back of the piece. Burnt wood, steel, plexi, rubber, glue, and daylight 10 x 9 x 11 Feet 2000 Copyright © 2013_Beth Solin_not for use or duplication without written consent

BODYJOISTS/SPINETRACKS: DETAIL
BODYJOISTS/SPINETRACKS: DETAIL

DETAIL. View outside looking towards inside of peek-hole. Burnt wood, steel, plexi, rubber, glue, and daylight 10 x 9 x 11 Feet 2001 Copyright © 2013_Beth Solin_not for use or duplication without written consent

BODYJOISTS/SPINETRACKS: OUTSIDE
BODYJOISTS/SPINETRACKS: OUTSIDE

OUTSIDE VIEW. Shows peephole from a distance. Burnt wood, steel, plexi, rubber, glue, and daylight 10 x 9 x 11 Feet 2000 Copyright © 2013_Beth Solin_not for use or duplication without written consent

BODYJOISTS / SPINETRACKS

These images depict the drawings and model for an installation that was never built. The model show in the last three images was the size of a large van. The final installation would have been built inside of an abandoned movie theater. This installation was going to house the Lucite figures I am currently building for OUT ME IN ME OUT.

Copyright © 2013_Beth Solin_not for use without written concent

BODYJOISTS/SPINETRACKS: MAN
BODYJOISTS/SPINETRACKS: MAN

PERSPECTIVE STUDY OF MAN FOR INSTALLATION. Paper, India ink, oil bar, graphite, and shellac 9 x 12 Feet 2006 Copyright © 2013_Beth Solin_not for use or duplication without written consent

THE SPINE: STUDY
THE SPINE: STUDY

Paper and compressed charcoal 7 x 4 Feet 1992 Copyright © 2013_Beth Solin_not for use or duplication without written consent

THE RIB: STUDY
THE RIB: STUDY

Paper and compressed charcoal 4 x 5 Feet 1992 Copyright © 2013_Beth Solin_not for use or duplication without written consent

FIST
FIST

Paper and compressed charcoal 4 x 3.25 Feet 2007 Copyright © 2013_Beth Solin_not for use or duplication without written consent

HORSE SPINE IN FAN
HORSE SPINE IN FAN

Paper, ink, oil bar, and graphite 8 x 15 Feet 1992 Copyright © 2013_Beth Solin_not for use or duplication without written consent

RUNNING HORSE MUMMY
RUNNING HORSE MUMMY

MODULATED MURAL Paper, ink, oil bar, graphite, and wood framework 9 x 15 Feet 1991-96 Copyright © 2013_Beth Solin_not for use or duplication without written consent

RELEVANT EARLY DRAWINGS

These are earlier drawings that indicate the way in which I explored the structural elements of the figure. 

Copyright © 2013_Beth Solin_not for use without written concent