Love and Everything It's Not incorporates photography and installation art (2-D and 3-D and sound) to share feelings of love and other emotions related to it.
Art by Nicolai Froehlich is available for your art collection.
Bed 1998. Wooden bed frames, acrylic fish tank, fish, filter, water. 20” x 35” x 77”

It is where fantasy and reality meet, thus the idea behind the piece. The idea for a fish tank inside a bed frame was inspired by a friend's waterbed. He told me that his bed had a leak in it. This made me realize that the bed is meant to be a place that brings one comfort and security, but can also cause one a sense of uneasiness and feeling trapped.

Your Mortification 1998. Treadmill, photographs, primer. 50” x 24” x 56”

Faces of men and women are plastered on an exercise treadmill. The viewer gets on it and walks / jogs / runs on it. The harder and faster the participant goes, the more one is hurting people. This piece is about being self-centered and self-absorbed and symbolizes how far are one is willing to go to hurt other people and try to get away with it. 

Waiting 1998. Answering machine, ringing message, 3” x 6” x 4”.

An answering machine sits on a pedestal on the wall. The machine is plugged into an outlet but is not accompanied by a phone. The viewer / listener, is instructed to press "Play." One hears messages of a phone ringing, leaving one with more questions than answers.

Ghost 1998. Bubble wrap. Tape. Adult size.

To Charlotte 1998. barf bag, marker, sign 9"

Teased 1998. Plastic monkey, fishing line, metal, push pin. A few inches.

Make fun of or attempt to provoke (a person or animal) in a playful way. - Merriam-Webster Dictionary

Cycles 1998. Acrylic, wood, water, dirt. 15” x 10” x 10”

A plastic vessel is filled partly with a brownish material with the likeness of feces. It is submerged in water. When the material is stirred up with a rod, it clouds or muddies the water. Once agitated, the material slowly settles to the bottom. This piece is about making "shit happen", stirring up the viewer mentally and / or physically. The title is controversial to anyone with a strong sense of religious leanings. It represents the phases in life of calm and turmoil, the environment in a person's mind, and the one in which one lives.

The Lawnmower 1998. lawnmower, turf, plastic varies with installation

The rusty old, broken down lawnmower, but it's the one that's got the power. And all these beautiful, lively little flowers, things that are suppose to be representing life, the old man like lawnmower is the one that's overdoing them. With that I come back to the title of the show, of having such a strong emotion about having love and acceptance, and to have these old ideas of hate and not understanding someone. Those old ideas can run over somebody's good feelings. The sense of action is implied by the lawnmower, some of the flowers are gone.

Rain Check 1998. bench, glycerin 28" x 50" x 24"

To Stimulate You 1998. Color Photography 30" x 20" each, 30" x 180" total

This series of pictures shows a woman spitting at the camera...and the viewer. It is a linear narrative that is meant to read from left to right. The bright, warm colors and the smile, that starts and finishes the sequence of images, gives the viewer initially a sense of harmless frolic. Examining the pictures further, one begins to notice the woman is violating the viewer.

Security/Afterlife 1999. spotlights, foamcore, cardcoard, silver mylar, tape size varies with installation.

Spotlights on the floor shine light onto the reflective surfaces on the ceiling where it bounces back onto the floor and walls as pools of light. Meant to look like a stage scene where light is shining through the trees, the pools of light entice the viewer to explore the space, to stand in the lighted areas and go between them. It is a metaphor for life's experiences, where one is attracted by the shining opportunities in life, only to discover these destinations (or goals) leaves one questioning, "O.K. I've gotten to this point, now what?" Life is full of high and lows, bright spots and dark moments, so have many goals in life because one never knows which ones will be more than a flash in the pan. Enjoy all aspects and experiences in life because they are all enriching.

Illumination 1999. Wood, lights. 15” x 30” x 42”

Christmas lights are wrapped around a clothes hanger. The soft luminosity glorifies this great household product and reminds the viewer of the warmth of being in a comforting setting / home.

Protection/Aftermath 1999. umbrellas. varies with installation

Used umbrellas in various degrees of disrepair are strewn on the floor and are accumulated on top of each other. The viewer feels as if having entered a disturbed, disorderly space much like after a heavy rainstorm or a cluttered and unkempt space.

Accumulated Filth 2005. Dust, vacuum cleaner, jar(s). Size varies with installation.

I vacuum the room usually every week. The bag from the vacuum fills up every few months. The accumulated dust, soot, filth is a dark grey. I will take the collected contents from the vacuum bag and shelve it on a glass jar(s). It is to display the filth I clean up and live with. I could have the contents analyzed by a lab and display it by the jar.

This work has been collected. Yeah!

Just Hangin' Around 2005. Hammocks. Size varies with installation.

Place hammocks in sunny, open places (parks, the beach, water fronts) so people can have a place to relax, get sleep, or just soak up the sun. It would make the city more relaxed or at least just for a moment. Do field studies and place them in places that get the most sun. Some can be hung between trees. Others on metal hangers. Mass-produced for massive fun.

Where I Walked 2005. Seamless white paper, tape, footsteps. Size varies with installation.

Seamless white paper, like the kind used on photo shoots, shows where I walked and the residue, marks from my footsteps. Shoes record my movement, habits, and repetition in my life. It’s like a photogram, since it’s showing the objects that leave a mark. It shows how I can make a place dirty and how I treat the surface or cover. It’s a record of my existence.

Coffin Of Fudge 2005. Wooden coffin, fudge. Life size.

A real, life-size coffin made of untreated wood, is filled to the top with real fudge. The fudge hardens and becomes nasty over time. It deals with obesity and poor diet in America and increasingly elsewhere. One example is of my friend’s health problems as they increased due to lack of exercise and poor diet. He loves sweets and fattening foods. In 2004, he had a gall gladder removed and consequently, is supposed to eat a healthier diet. He has had difficultly changing over to the leaner diet, telling me how he is sometimes eating greasy hamburgers and beer. So the idea behind the artwork in theory is that if he were to eat all the fudge in the coffin, he would probably be dead.

Moping Heart 2005. Mop, bucket, sweat heart candy, fake blood. Size varies with installation.

A regular mop will have red paint, looking like blood on the brush, dried on it and the paint will be washed onto the floor along with sweet heart candy, saying sweet nothings like “kisses”, “I love you”, and “love forever”, will have paint also covering the floor. It symbolizes the complexity and messiness of the meaning of love. This could be the end of a love, how the sweetness can be tainted into bitterness, how love can influence one’s viewpoint. The innocent becomes experienced, and now love becomes more complex as one must deal with the aftermath of innocence lost. The mop symbolizes the cleansing, and also the muddying of the meaning of love. The sweet heart candy represents the happy, blissful moments in the decadent landscape of relationships.

Miscommunication 2005. Paper, Scissors, string. Size varies with installation.

Sheets of clear/white paper with words cut out/off. Some of the letters are difficult to read since the cut off words are not accurate/legible, making the meaning difficult to figure out. The paper can be on the wall, hanging in mid-air (suspended from the ceiling by string), and pasted to a glass window or door. This way it can be seen from two sides. Some words or sentences/fragments can be facing one direction, the other side the opposite direction. It can symbolize the two viewpoints/perspectives in a situation/dialogue/monologue/argument on the same subject. I would like the words to talk about the place (i.e. door: discuss the meaning of doors, i.e. windows: the meaning of windows). This shows how miscommunication can occur because of language, semantics, not clearly being able to express oneself (just a thought).

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