The Salesman’s Sample series was an attempt to merge photography and sculpture. The objects have an ambiguous associative content and formal characteristics that are reflective of their sources--discarded commercial items. They have a somewhat anonymous appearance; product-like in their presentation. In the series, the objects ran the gamut from single objects to assemblages to the monochrome radially symmetrical shapes presented later.
The photographs were printed to scale on stretched linen and depicted the objects. They flatten the sculpture’s volumes and reduce its information to signage while raising it to icon status. The photographs are not cleanly printed, showing their process and manufacture. Not a seamless window, they are revealed as objects and visual puns for paintings as well.
In essence two originals exist from the same idea- one visual, one corporeal; one document, one monument. It is this equation that makes the eyes dart back and forth looking for likeness or disparateness; failure in one, success in the other. But it is also an equation in which one and one make three somehow.