PINK MOON RUINS

Pink Moon Ruins - an experiential installation exploring form and feeling in the context of transitional time and space took place at The Donovan Ranch in Joshua Tree, CA in 2022.

Seated at the edge of wilderness provided by the neighboring Bartlett Mountains, The Donovan Ranch is a notable place within the transitory history of Joshua Tree, California. This liminal space that the ranch occupies, between domestic and wilderness, draws a parallel to the location of Joshua Tree itself and its relation to LA and the vast wilderness beyond. These kinds of spaces are thresholds, portals and fleeting moments between parts known and unknown.

The abandoned homestead was once owned by the singer/songwriter Donovan and more recently, the artist Paul McCarthy. In both cases one can imagine many memorable and notable moments that were in their own ways poignant for this place, almost as a kind of finger on the pulse of their respective times.

In between being occupied by these two creative energies, the house on the property burned down during the 1992 Landers earthquake, leaving behind only the concrete elements of this home or what would not burn – ruins or residue of a more cataclysmic experience – the result of friction at a threshold.

Regardless of the specific ties to music, art giants and cataclysms, Anderson was interested in the space more generally as a storied place and with the implication of experiences that happened there and the idea of while this too shall pass, what remains? What was there before? And does the land hold memories and experiences? Does it make them?

With regard to these questions, Anderson created enigmatic figures and objects that activated these abandoned ruins with their presence. These figures and objects were meditations on spirits as residue of existence and their experiences of holding space – past, present and future, outside of time and place.

Anderson lived on the site, with the work for two weeks, had two public receptions, hosted various guests to view the work and to go on walks and hikes. A handful of performances and experiences aimed to further engage the time and space took place at the receptions including performances by Heidi Alexander, Derek Moneypenny, Tara Jane ONeil and James Kidd, as well as an auxiliary installation/experience by Nathan Oberman and a workshop with Emily Endo and Elena Yu.