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Moving Images

Battering Ram, (2012), multi-stage performance with audio installation component. During the London Olympics the hired guards were questioned about the URL to acquire tickets to the events via a microphone at a bridge leading into the complex. These exchanges were documented in video form and uploaded. The URL was printed and hung near the site of the exchange. During the exhibition opening, a battering ram was constructed for the period of three hours in front of an Olympic complex bridge entrance. Being assembled just outside of bridge where guards stood, just feet outside a metal fence crowned with barbed wire and standing about a moat, the local police were called to inspect. The inspection was utilized to discuss gentrification, international and national finances of the olympics, parties interested, gang relations, power structures and the police's own involvement in the olympics games--all of which was documented. The final stage of the work followed the relocation of the building materials away from the entrance and just beyond the purview of the guards, where sound recordings of the hammering of the wood were looped and amplified via megaphone.

Doppler Shift, (2012), Manhattan, New York, USA.

In a series of drive-by projections of immersive video environments throughout the Manhattan Grid during the late night and early morning hours, Doppler Shift visualizes another urban design--one where the hard angles and straight lines of the Grid are replaced by soft curves and the acute angles become obtuse. Each night Doppler Shift wove from Avenues D-12 and 1-155 Street, in a sinosoidal wave up the Island of Manhattan, exploiting the narrow cross-streets to come upon unexpecting viewers who saw this unique event. The first night covered streets 1-50; the second 51-100; the third 101-155, terminating at Trinity Cemetery.

The video projection was made possible through the design, construction, and implementation of a dual-headed digital projector that cast video images onto the faces of buildings on either side of the street.

The video footage was taken from the project Doppelgänger Effect (2011), a 30-mile, four-day bicycle tour over the Manhattan Grid during which I broadcasted audio readings were comprised of excerpts from Jean Paul's novel,"blumen, frucht und dornenstücke" in which Jean Paul coined the term "doppelgänger." The reading is intermixed with excerpts from "Induction of an Illusory Shadow Person," a report published in Nature that locates the sensation of a double within temporoparietal junction. Simultaneously, I recorded audio and video footage. Doppler Shift utilizes the 3 hours and 45 minutes of footage from Doppelgänger Effect, reprojecting it back on the city's face, displacing day, time and location, invoking the social memory of the site while distorting and rotating it.

Doppelganger Effect, (2011), Manhattan, New York, USA

Over four days, at four different times, I traversed the Manhattan Grid from 1st Street at Avenue D to 155th Street at 12th Avenue, broadcasting audio as I went. The chosen form of transportation was a tandem bicycle that I had altered by adding one forward- and one rear-oriented megaphone as well as substituting the second seat for a camera. The camera was mounted with a parabolic mirror lens that captured the entire journey in complete panorama. A stereo recorder was also capturing the echoes and urban noise of the traversal.

Through the megaphones I broadcasted two audio tracks comprised of voices reading texts. Each track was mixed with portions of Flower, Fruit, and Thorn Pieces or the Married Life, Death, and Wedding of the Advocate of the Poor, Firmian Stanislaus Siebenkäs (1796), in which the author, Jean Paul Friedrich Richter, coined the term "doppelgänger" as well as excerpts from "Induction of an Illusory Shadow Person," (2006) a report published in Nature wherein the sensation of a “real” doppelgänger is purported to be located within brain’s temporoparietal junction. Together there readings were played through stereo tracks that were incongruent, each having been augmented--either sped up or slowed down--so that, when in motion at 21 miles per hour, the two stereo tracks aligned and the bystanders heard only a single audio track of the readings, i.e.removing the Doppler effect that is normally heard if the sound source is moving.

The nearly four hours of video footage captured in this performative filming is unique in its format and content. The parabolic lens through which the footage was captured results in a donut-shaped moving image that is best experience by re-projecting the video back onto the same parabolic surface and reflecting it on the surrounding walls. Additionally, this strange geometry addresses central issues to the Manhattan experience that is primarily Cartesian 90-degree angles and flat surfaces; instead there are distorted curves and vanishing perspectives and move toward and away from the viewer, as the content nears or recedes from the lens.

Text & Book-forms

Ghost Capital,(2010-2012), electronic artist book installed throughout a stack of four obsolete computer monitors) is a sculptural essay that recounts the closure of San Francisco’s Virgin Megastore following the 2007 Recession.

Metacontrast, (2011, ISBN 978-1-105-39344-0, artist book, 85 pages, 6 x 9 inches) is comprised of four systems of interpretation of how stimulus is differentiated from other stimuli. These systems are shown via flipping the pages of the book.


Tracing The Path Of A Ray Of Light, electronic artist book for tablet, (2012/13)
is an electronic artist book of photography for iPad or other screen-based reader. It aims to exploit the skeuomorphic characteristics of digital images have been inherited from analog photography by combining digital photographic images of two books on the subject: Computer Images (Time Life, 1991) and General Electric’s Filmamatic Processor (1975) service manual. The former recounts formative technologies of computer images, while the latter pertains to an apparatus that develops traditional x-ray film stock. The digital photographs of the two books are merged to highlight the material mimicry of physical, printed images in digital technologies, including e-readers.