Gallery: Screw-Embedded Football 'Breathes' on Respirator
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The doomed football at the heart of *Pump* has been ravaged by drywall screws. Hooked to a horse respirator that pumps it full of air in a constant, life-and-death battle against deflation, the pitiful pigskin expands and contracts incessantly. The prognosis is not good, but at least the football's Phillips-head oppressors make an eye-catching display as the ball shrinks and expands. The art piece by David Adey, a San Diego sculptor fascinated by the process of "creating something new through an object's destruction and restoration," is just one of the curious works by four dozen West Coast artists in the [2010 California Biennial](http://www.ocma.net/index.html?page=current), presented by the Orange County Museum of Art through March 13, 2011. Check the gallery for more on *Pump* and a sampling of other work from this year's California Biennial, including a *Star Trek*-inspired painting and GPS-embedded cellphones that locate water caches near the U.S.-Mexico border. __Above:__ *Pump* (Detail) --------------- Artist [David Adey](http://www.davidadey.com/main.htm) says in a statement that "*Pump* began as a simple experiment in the destruction of a football by piercing it with drywall screws."
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*Pump* (Full View) ------------------ Artist David Adey, a New Jersey native whose work has been featured at Los Angeles' Luis De Jesus gallery, explains the *Pump* system: "The football's entire surface is embedded with screws that simultaneously deflate the structure and create a second layer of skin. The respirator slowly pumps air in and out of the football through an oxygen tube, mimicking the fluid motion of a respiratory organ."
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See *Pump* in Action -------------------- This video shows how David Adey's art installation *Pump* works.
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*Landing Party II* ------------------ San Francisco artist [Luke Butler](http://en.wikipedia.org/wiki/Luke_Butler) drew inspiration from *Star Trek* when he created this large-scale painting, which he titled *Landing Party II*.
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*Between Bodies/Tijuana* ------------------------ For *Between Bodies/Tijuana*, [Nina Waisman](http://www.ninawaisman.net/) took a tape recorder into the streets of Mexico, where she captured sounds of the city. Then she rigged up the audio to motion sensors. As visitors walk through the installation, they trigger audio samples that vary in pitch, speed and volume according to the position of the body.
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*Black/White Glue* ------------------ [Jennifer Locke](http://www.jenniferlocke.net/blackwhite.html) served as subject for this "live sculptural action." On her website, she describes one step in the *Black/White Glue* project: "The room is now black, floor to ceiling. I am wearing a white sweat suit. I cover the ceiling, walls and floor with white butcher paper. I make a shallow plastic pool and fill it with black ink. I put up my hood and tie it so that my face is covered. I jump rope in the ink -- splattering the papered room and myself -- until there is no more left in the pool."
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*Transborder Immigrant Tool* ---------------------------- Micha Cárdenas, Amy Sara Carroll, Ricardo Dominguez, Elle Mehrmand and Brett Stalbaum, aka [The Electronic Disturbance Theater](http://digitalarts.lcc.gatech.edu/unesco/internet/artists/int_a_edtheater.html), embedded eight Motorola i455 cellphones with [Walkingtools](http://www.walkingtools.net/) software that points travelers to GPS water caches left near the U.S.-Mexico border by human-rights groups.
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*The Third Party* ----------------- Moving around the museum on this mobile interview cart, [David White](http://www.davidwhitework.com/) (pictured at right) interviews visitors about works of art. The resulting audio recordings can be replayed through headphones for the edification of future museum guests. On his website, White describes the cart as a "satellite office" of his [Agitprop](http://agitpropspace.org/agitprop/) project, designed to function "like a shoe store, a telephone pole, gum on a bench, or a post office. Conceptually, the idea was to bring the gallery into the neighborhood and the neighborhood into the gallery."
