Potential works for Group 6 exhibit at Melani Carr

 

Option N0. 1

Above: As Long As We Kept Playing  Below: Installation view, the projector is in that black box and you can see it is a pretty compact setup that reads more like a social media event than some feature film due to it’s size and intimacy. (only one of the podiums seen is required)

Above: As Long As We Kept Playing

Below: Installation view, the projector is in that black box and you can see it is a pretty compact setup that reads more like a social media event than some feature film due to it’s size and intimacy. (only one of the podiums seen is required)

My initial thought is to show this piece, ‘As Long As They Kept Playing.’ It is a mix of behind the scenes action blended with gifs, loops, and bloopers- it was an unexpected hit at my last show, and i projected it from a pico from a pedestal right up against the wall, and its size projected was no bigger than an ipad- the advantage to this piece is that it could be put upstairs because of it’s minimal footprint and requires no thing to be hung or installed. The projector so close to the wall is very bright and the room need not be darkened to view it.

I included below the artist statement specific to the piece in case it helps in gaging it’s compatibility with the rest of the work in the show.

For As Long As They Kept Playing is footage from what I call Camera 2, a wide shot of my studio workspace akin to surveillance video. It is what I look at, how it looks, and what it looks like. It is small in size because it reflects phone viewership, particularly the intimacy of my own. My work often requires collaboration with friends and family, and in this way the piece is a form of self-portraiture. Also scattered throughout the piece are many residual products like loops, GIFs or outtakes. Similar to a brushstroke that carries all of the thematic content of a painting, or the autonomous meaning of sounds in a poem, boiling a project down to a three second loop is a challenge that I embrace. Unlike the other works shown, it would be hard to see this piece in its entirety, and probably not necessary. Like any GIF, it plays as long as you watch it. And as with any poem, reading or understanding the piece is not dependent on viewing it for any prescribed length of time.

 

Option No. 2

Cranberry Bog Paintings

Cranberry Bog Paintings

Cheez-It: Mixed Heads

Cheez-It: Mixed Heads

Formation: Pink Run

Formation: Pink Run

Installation Shot- The bad news is that this thing takes 24 anchor or toggle bolts in the wall to install.   It is about 7 feet wide and tall

Installation Shot- The bad news is that this thing takes 24 anchor or toggle bolts in the wall to install.

It is about 7 feet wide and tall

How to Make a Square Hero is a nod to social media platforms, their formatting limitations, branding potential, and the heavily curated self image. There are moments of cohesion, but more often it is a mix of content designed to maintain a pervasive “thingness” at the center. Cranberry bogs, cheez-its, painted squares and cut-outs infiltrate the object at the center, which is galvanized by tempo and the use of non-traditional materials and their industrialized color. How to Make a Square Hero highlights the difference in my work between making things and presenting them.

 

The Gifs to the left show the piece in its initial start phase, slowly it intentionally goes out of sync while maintaining it’s square ‘thingness.’ Below are a few Still shots of the piece in various stages of it’s content mixing.

 
fog.gif

As a side option, since I exhibited square hero this is one of the stand alone pieces of new content that I made for the same video wall, it is a series of moments blended with that same non-sync approach, this time a mix of several paintings I made in a single session. It is of a landscape and some fast moving fog. This has not been shown anywhere

 

Option No. 3

 
birds_install3best.gif

The Birds is a two monitor piece that is roughly 36 x 36 and very flat to the wall. 8 toggle or anchor bolts to hang.

The Birds is a hand painted animation modeled after a scene from Alfred Hitchcock’s The Birds. I relied completely on my daughter’s instructions as she looked through an image sequence to position me. In doing so we were limited to words for interpreting what she saw. The link between image and word has always been a preoccupation of mine. I hope to be surprised, as is often the case. Hitchcock’s original sequence, once unpacked, had very few birds visible.  It is a case of the truth being stranger than fiction. What were originally coats and blankets sprawled over my shoulders were adapted with a combination of performance and simple drawing materials, enhancing both the shadows of birds and traces of movement.

 

The Prints

The prints could easily be exhibited in addition to the 1st or 3rd options listed above, as they are commemorative of moments in both (except the pink landscape print.) Ideally I would show them framed, and have them available in the gallery unframed at a price point we can determine. They are all limited editions (25) museum quality prints on cotton rag paper.

Archival Inkjet on Hahnemuhle Museum Etching (printed by Singer Editions) 5x 5 image on 7 x 7 paper.

Sorry these pictures are very dark!