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"My practice revolves around ideas of perceived intrinsic value, whether that be the value of a material, a form, skill, or perception. Through plays on the viewer's curiosity my work aims to seduce the onlooker into the position of jeopardizing often pre-constructed notions of value and quality. Frequently the viewer literally becomes a part of the work, and this through the lens of a secondary viewer is as much the artwork as that which is experienced through the perspective of the original participant."

-Seth Orion Schwaiger


Installation images from COMPLEX 1





Upward Momentum
drywall, construction materials, plastic
variable installation, pictured here at 384 inches by 240 inches by 150 inches

Upward Momentum filled the main gallery of Pump Project during COMPLEX 1, a solo exhibition that expanded the usual exhibition space beyond the main gallery and into several as-of-yet unused spaces (some built to spec for this show by the artist) in the Austin warehouse studio complex. This installation disrupted the patterns of usual Pump Project viewers, confronting the expectation of work on the wall and breaking up the space in a radical way. The possibility of congregation was pushed into other areas of the building, which in partnership with activated long sight-lines pulled viewers into uncharted space. Finding their way to the second floor, (before or after navigating the other five exhibition spaces) the viewer gains a new physical perspective, a discovery which leads to secret knowledge. Furthermore, this new vantage lends itself to deeper reflection as now experienced viewers watch newcomers navigate the space below.

















Other selected works






Reflection (part 1 & 2)
scrap wood, mirror, video projection
264 by 240 by 12 inches (wall piece), 60 inches in diameter (projection)

Reflection, pictured here in The Glue Factory in Glasgow, is an installation work in two parts: the first, a large wooden radial circle mounted on the wall with a small circular mirror at it's center, about ten feet off the floor; the second, a video projection in a separate room displaying a live feed of the unseen camera behind the mirror in part one. In Glasgow, around 80% of viewers seemed to eventually recognise the connection between the two works.






Light, Sweet, Crude
MDF, paint, plaster, gold leaf, plastic, crude oil, light
installation (variable dimensions)

Light, Sweet, Crude, was displayed in an industrial space on the periphery of a large group exhibition. The room occupied by the installation was dark save a very dim spotlight aimed at the decorative chalice. The work was indiscernible from outside the room, but as the curious viewer would enter the spotlight would quickly brighten, and inevitably bring in others. As these viewers left, the light dimmed. In this way, the work was consistently viewed in waves - the curious often unknowingly leading a group by example, and others missing the work all together.