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Site-specific performance video installation
at AC Institute [Direct] Chapel, NY, NY.
10' x 40' room.
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2010. |
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Two channel video sculpture
at Participant, Inc., NY, NY.
dimesions variable.
Two video monitors placed on their sides sit facing each other on the floor.
Each presents gestures of observation and physical adjustment. As viewers
walk around and between the monitors, they observe a pas de deux between
the two monitors and are drawn in by gestures that seem directed to the audience.
With oblique reference to the Alexander Technique, GLEAN looks at
self-observation, intention and habit to explore possibilities of shaping
one’s own state of being. 2008. |
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site-specific installation
at the Chocolate Factory Theater in LIC Queens, NY.
installation on a 7' x 40' ramp.
video projection on entrance doors.
videos on 4 monitors stacked under stairs.
projection is visible from outside the building.
visitors enter through a door in the projection.
For LEVEL, the interior of the main entrance to the building is fitted with
canvas to create a projection surface. The doors have glass panels that
allow the projection to be viewed from both inside the space and from
the sidewalk outside.
Viewers enter the building through the projection surface. They then find
themselves at the top of a steep ramp (40’ long, 7’ wide) with the video
projection now behind them. The feeling of entering inside the work is
enhanced by the extreme dimensions of the space and the position of the
projection. A stack of 4 televisions is wedged under an open metal
stairway at the lower end of the ramp. The intermittent sound of metal
balls rolling down the ramp echoes in the room (from SPHERE vide viewed
through stairs). Most sequences in the videos were shot in the space.
Some scenes were shot simultaneously from multiple camera angles.
The videos coincide at intervals, heightening a sense of present and past
in the same location viewers share with the work.
projection- PLANE. two monitors viewed through stairs- SPHERE, STATIC.
vertical monitor- INCLINE. monitor on floor- DECLINE.
(all videos except SPHERE are silent). 2007.
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installation at the Chocolate Factory Theater, LIC, Queens, NY. |
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installation at artMoving Projects, Brooklyn, NY.
2 video wall projections, audio on sculpted speakers,
a video projection on televisions fitted with canvas covers
and stacked and to resemble a stone wall. 20’ x 24’.
Physical interactions with landscape and recollections of cornfields
converge in a mediation on perception, nature, and environmental impact. HEDGE references the tradition of dry-stone hedge building. The image of
a stone wall built and disassembled is projected onto the stack of canvas covered televisions. The precarious shifts in the video heighten the
physicality of the sculptural object in the viewer’s space. In FALL, I
interact with landscape with references post-modern dance, Bruce
Nauman’s dance-influenced bodily mappings of the studio, and cultural
notions imbedded in the history of landscape painting. AFIElD (circular projection) and FURTHER AFIELD (audio work) poetically explore the the cornfield as adolescent escape, cultural symbol, and economic resource.
2007.
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_______________partial view of installation at artMoving Projects, Brooklyn, NY.
clockwise from upper left: AFIELD, HEDGE, and AFIELD: FURTHER (speakers) |
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audio sculpture at artMoving Projects, Brooklyn, NY.
W
ireless headphones sit atop a ladder facing a window overlooking a park.
Viewers are invited to climb the ladder to a bright yellow rubberized step
and put the headphones on. The rubberized yellow band of the headphones
and the yellow step bracket the viewer’s experience. The audio
includes
community discussion of proposed park use, the logistics of artwork transportation, and the minutia of studio critique. Recorded with a
self-built binaural microphone and played back on wireless headphones,
the spatial characteristics of the recording are preserved while viewer
move freely in the exhibition space. 2005.
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single channel video.
In Hotel Wisconsin, subject and voyeur are fused by recording my own
reflection looking out from a hotel room window on a mirrored office
building across the street. The work is a kind of meditation through
layers of reflection, revealing traces of history in the radical
architectural juxtapositions of this Milwaukee neighborhood and
resonating with the psychological possibilities of the interior location.
2003. |
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video installation-- 3
video projections and 1 monitor video in a
sculptural arrangement of common materials. A work light and a
large cardboard box together create a shadow on a wall onto which
the largest video is projected. (Individual videos are 2-9 min. loops.)
An Object That Can Be Moved choreographed actions, a sculptural
arrangement of common objects in space, and my own position as
maker/director are employed in an exploration of the interconnections
between artistic issues (relating to post-minimalism and post-modern
dance), movement (in film, dance, and life), and authorship / labor
(both creative and mundane). Viewers are invited to move among
objects that are echoed in the videos, relating their movements
to that of the performers. 2005
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installation at artMoving Projects, Brooklyn, NY.
1video projection, 1 line of slide projected text, and 9 video loops
played on scavenged/recycled televisions ranging in size from 9” to 27”.
Each tv is covered by a fitted canvas ‘cozy’.
(Individual videos are 2-40 minute loops.) 20’ x 24’.
Cozy Room invites viewers to wander through a ‘fictional woods’ to reflect
on the poetry to be found in the fusion of technology and nature in our
everyday environment. The project emerged from playful dialogue with
three books whose titles are projected on the wall, one word after another
without punctuation in a kind of found poetry that provides a frame of
reference for the installation. 2005. |
| installation at artMoving Projects, Brooklyn, NY. |
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glass, wood, 4 video projections.
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