After a storm at sea, afloat with a maimed ship, the savvy sailor will use whatever is laying around to piece together a new mast and sail. The resulting jury-rig is a quick and dirty propulsion device that lasts just long enough to get the boat to a nearby port. While watching the employees at Recology Cleanscapes craft levers to move heavy objects, poles to pull garbage out of the recycling line, and stack sorted materials in designated locales, Keyes was drawn to explore this process of jury-rigging through sculptural forms.

  Continuing a series of investigations about the unknown nature of the sea, Keyes assembles various mechanical devices and flotation methods akin to ocean-fairing vessels. Sourcing from materials such as bricks, scrap wood, upholstery foam, plywood, styrofoam, ratchet straps, and shelf supports, his work is rooted in the everyday, using whatever is close at hand and easily accessible within the domestic realm. By creating installations that appear occupied, or lived-in, he investigates the relationship between the finely-crafted art object and the work space by which it is supported. With ordered and stacked materials, drawings leaning against the wall, and furniture bearing large constructions, his work looks to the self-described act of “speculative mapping”, a study into the route the brain takes while daydreaming.