WORK IN PROGRESS
I will be mounting a site-specific installation at The Vestibule in Ballard (Seattle) January 18 – February 16, 2020, titled Rose/rose/rose/rose. As the title suggests, the rose reappears throughout this installation both visually and sonically – in video "wallpaper," organic and found materials, and audio compositions. Inspired by Gertrude Stein’s infamous quote, “Rose is a rose is a rose is a rose,” these works question the assumption that things are what they are, breaking open a space where discordant perspectives collide.
January 18 - February 16, 2020 at The Vestibule, Seattle WA
FOR THOSE WHO HAVE SEEN THE ELEPHANT
May 2020 at Inscape Arts & Cultural Center, Seattle WA
To have “seen the elephant” is an Americanism coined in the 19th century that means to have gained coveted experience at a great expense. Through simple sounds, sights, and symbols, For Those Who Have Seen The Elephant will be a large, immersive installation that presents this old Americanism as applicable to the current struggles of people pursuing happiness in the U.S. and in our modern age –– having gained much but not without a cost. I’m thrilled to have the opportunity to develop and present this installation as part of my artist residency at the Inscape Arts and Cultural Center in Seattle from February to May of 2020.
Debuting in 2020-2021, location TBD
I became interested in different eras of military fort construction while working on Governors Island (New York), specifically in how these endeavors, spanning decades, were responses to imagined threats, many of them never seeing battle. I’m also interested in how these sites provoke the imaginations of visitors, in particular, children who often play hide-and-seek and war-like games.
Imagined Threats will weave together a breadth of cinematic imagery taken at Fort Worden State Park with different sounds heard throughout the grounds, human and otherwise. This will be presented on the multiple surfaces of a three-dimensional installation of scrims that mimic the Fort’s architecture. I’ve been invited by the Centrum Foundation to be an artist-in-resident at the Fort this fall to continue developing this piece.
A video triptych conceived for TREE, a group exhibition curated by studio e gallery at Vashon Center for the Arts, June 7 - 29, 2019
10:35 minutes total
Elemental is a video triptych that puts the manifold interior world of humans on the same level as the complex natural world surrounding us. Each is of a single subject engaged in a different form of communication: in person, over the phone, and with oneself or an internal conversation. The triptych's composite of visuals and audio invites the viewer to hold three positions simultaneously: 1) removed, separated by the screen, 2) intimate, inside the subject’s head, and 3) ancient, as in the primal response to nature scenes and sounds that project upon the subject about a minute into each video. Here, all things converge—man and the living world, inner and outer, familiar and other—becoming one.
A video installation at studio e gallery, Seattle, January 3 - March 10, 2019
outward video, 9:52 minutes, looped; inward, 2:10 minutes, looped
Located in the gallery’s “Vatican” window, Lungs/Limbs presented a double-sided view of a cluster of tadpoles: one view of them en masse seen from outside the gallery, and another close-up view from the inside through a peephole and with audio.
FOLLOW ME THROUGH FOUR LEVELS
A video installation at goCstudio, Seattle, November 1 - 3, 2018
4:23 minutes, looped
Inspired by the four levels of achieving consciousness, a theory common in some Eastern religions, Follow Me Through Four Levels created an 11' x 11' x 14' room within a room, or a “box,” that used iconography of The American West as a symbol for myth, the difference between real and fake, expectation and outcome.
1,000 TIMES/500 MILES
12:07 minutes, excerpt shown here
1,000 Times/500 Miles is inspired by two songs: the contemporary “1,000 Times,” written by Hamilton Leithhauser and Rostam Batmanglij and “500 Miles,” a traditional American folk song credited to Hedy West, from which the entire structure for “1,000 Times” was lifted. One tune is dreamy, euphoric, and innocent, while the other is about weariness, desperation, and a past that cannot be resurrected. Hummed versions of each song waltz throughout the video, sometimes at odds with one another, with the sound of eternal footsteps and breath in the background. Competing horizons that tremble from friction are the beautiful but eerie vortex of a backdrop to these sounds.
2:15 minutes, excerpt shown here
End/Begin combines footage of a rocky cliff face and its reflection in an alpine lake as a metaphor for real and fake, the conscious and subconscious. Here, where one thing ends and where the other begins is constantly changing, or are perhaps the same thing, as the chanted audio suggests.
This is where
This is where it
This is where it ends
This is where it begins
This is where it
This is where