Installation Documentation
Taxidermy, mdf, portrait backdrop, logs
Pigment Print
Pigment Print
Pigment Print

Image 8 - Cats

1 min, played in loop
Installation: photographs, Drawings, tape, animal magazine cut outs
documentation of installation, dimensions variable
artist book
5.5x4.25” folded, 11x17" unfolded, 8 pages, edition of 500
archery target and tape


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  • This is a rough edit sample clip from an in-process video This video of phosphorescent rocks and peacock sounds is named after a Whistler painting derided by Ruskin. Ruskin’s regular mental breaks were intensified by factors including colors against dark backgrounds, like the fireworks in Whistler’s painting, and the sounds of peacocks. Despite his passion for geology, one can only imagine that Ruskin would have a similar negative reaction to the phosphorescent glow of certain minerals.
  • Lex Thompson updated the Artwork Women’s Work
    This sample is taken from film slowed to 2 hours. This film is viewed in isolation through the eyepiece of a replica of Edison’s kinetoscope. The slowed frame rate of the video behaves like a still photo. While moving, it is nearly imperceptible to the viewer, vacillating between photo and film. The duration connects Maxwell's inhabiting her exhibition cave during the Centennial to the time of my exhibition. The set in the video is modeled on the cave entrance in Maxwell’s exhibition. Its co…
  • Lex Thompson updated the Artwork Lily (Quartz)
    These photographs of crystals and minerals were made in Mia’s Period Rooms. Within the series there are ten images, one for each of the young women characters in Ruskin’s The Ethics of the Dust, where he uses crystallography to teach ethics and aesthetics. These images become portraits by photographing the crystal subjects of the text, which are moral and aesthetic agents just as are his pupils are. They are photographed in an interior that echoes the space of the instruction.
  • As he grew unable to travel, Ruskin sent students to make drawings of things in Europe that he had repeatedly drawn. In this series of drawings, I copy Ruskin’s drawings of rocks. I am drawing them with rocks, which will be displayed alongside the drawings. The rocks I use are minerals that “streak” when scrapped along unglazed porcelain. This is a common practice in geology to narrow identification of minerals according to their streak color. Since many minerals streak the same color, or …
  • This book utilizes lists of Maxwell’s specimens to create a nineteenth-century style natural history folio. I cut animal images and paste them onto each entry in the catalog. Combing through existing books and images (a contemporary mediated searching) mimics Maxwell’s hunting in the field. The animals are pasted onto chroma-key green rectangles, a background of cinematic, imagined potential, to highlight their extraction from the environment.
  • Lex Thompson updated the Artwork Re-Model
    This installation included two related works, Portrait of Mabel Maxwell, c. 1868-1869, Pigment Print, (2016); and On The Plains and Among The Peaks, Taxidermy, MDF, portrait backdrop, logs, 105"x97"x90" (2016).
  • top view
  • Lex Thompson updated the Artwork DEER BLIND
    from the series Frame Drag The front and back cover depict "trophy walls" of animal photos cut from a daily calendar. The interior pages show a progression of photographs of my son taping over a photograph of a deer, gradually covering the deer up to his antlers, concluding with the taping of the adjacent light switch. The book can be unfolded to reveal the back of the sheet, containing an enlarged image of the deer from the “trophy wall”. The book’s owner may continue the activity by tapi…