large scale sound and video installation. 20 min duration, exhibited on loop.
Includes video content appropriated from Google Earth, and text from classic nature writing, romantic comedies, and domestic abuse support literature.
completed during my time as an Artist in Residence at the Studios at MASS MoCA
I am what I am
performance series [in collaboration with Margaret Hull].
vocalization of text [Walter Benjamin, The Image of Proust] bouncy balls, drumstick, attire, architecture, ambulation.
A call and response performance that reanimated the language of a canonized theoretical text as well as the transitionary space of the stairwell, through reverent vocalization and meditative ambulation. The text was rendered almost indecipherable as it was sung, one word at a time, in elongated and expressive syllables that echoed throughout the stairwell. The performance was an embodied expression of the content of the text.
excerpt from “The Image of Proust” by Walter Benjamin:
"..an experienced event is finite.. confined to one sphere of experience; a remembered event is finite, because it is only a key to everything that happened before it and after it. There is yet another sense in which memory issues strict weaving regulations. Only the actus purus of recollection itself, not the author or the plot, constitutes the unity of the text... the intermittence of the author and plot is only the reverse of the continuum of memory, the pattern on the back side of the tapestry."
Imagoes in an interactive installation with a discoverable sound element. The work draws attention to a seductive quality of synthetic materials that mirrors our attraction to the natural world, while exploring the screen as a quixotic site of desire where synthetic ideals and images are just as tangible and desirable as things in our immediate environment.
The installation puts the didactic cues of institutional (museum orgallery) architecture and the information kiosk (as found inscience or natural history museums) in conversation with the sensory effect of the screen. Together they create an experience of wonder in relation to nature within the sterilized space of the gallery that is felt by participants as simultaneously “real” and yet obviously “synthetic”.
Upon approach, a green light emitting from the surface of the pedestal begins to shift, and a field of sound emerges that delivers the feeling of being in the midst of an environment akin to a local natural area. I use parametric speakers, which channel sound in a focused column, to deliver sound that is only audible when you are physically within the space of that column. The sound itself acts as another architectural element, but one that creates an experience not spurred by visual information. The pedestal acts as a very straightforward, yet surprisingly effective, constructed simulation of nature.
Translucent blue silicone veils the museum window, which looks out onto Cranbrook's highly manicured and historically protected grounds. Natural light from the outside passes through the silicone to cast a blue glow on the interior of the museum. This synthetic material at once obscures the outdoors and casts a seductive hue inside.
The it she
the it she is an installation in which a persistent stream of brightly colored, rapid ﬁre text is projected onto a suspended shredded screen form in a darkened room. The work is at once visually seductive and communicatively obtuse. Language is presented as a saturated yet vapid form, delivering an abundance of communication that ultimately fails to produce meaning.
architectural intervention with sound element
Be silent is a sound installation, with three distinct audio channels. Audio consists of the artist's voice delivering spoken commands, song, and staggered moments of silence. Installation participants engage in a precariously isolated experience of the work. Their are faces veiled but their bodies are exposed, cutting oﬀ eye contact and visual communication with onlookers. Participants are objectiﬁed through participation.