Time-Based Portfolio

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This Is Hell
2017, 1:00 minute

Our belief structures have collapsed. In their place is a cacophony of voices drowning sadness with volume and bile. If our current predicament is Hell, what does the future hold?

 


Life Can Be Difficult
2017, 1:45 minutes

A reaction to the gut-wrenching wretchedness of the current predicament in which our small, fallible world is trapped.

 

We Could Be Transcendent Apes-Elevation Module
1:20 minutes, 2016

We Could Be Transcendent Apes-Elevation Matrix is part of a series re-telling of the film Robot Monster in the form movie trailers and commercials frames the narrative of a space invader seeking transcendence through communion with humanity.
Sound by Kelly Marie Martin and Karl Erickson.

 


Motherless Mind-Children
Digital Video, 9:36, 2017

This is a re-edit/remix of a live video mixing performance. It is an abstracted narrative about how, in order to evolve physically and biologically, we must find ways to join with the non-human, here represented by centipedes and snails. In order to accomplish this communion, we must give up our consumption and regurgitation of click- and capital-generating content, which causes so much nausea and disgust in ourselves and others. Cleansing our minds of such ever diminishing forms will connect our pasts and futures, coming home a primordial future that makes the best of a bad situation.

Inspired by the writings of Donna Haraway, Motherless Mind-Children was originally performed as part of “Come Together: Bring Your Own Beamer Muncie” on November 18, 2017 at Muncie Makes Lab. The video is a collage of my own videos and “found footage” from Superheros Pregnant Soccer Balls Fidget Spinner Spiderman Joker Hulk Cartoon Funny Kids Video, a deleted youtube video algorithmically generate to attract child viewers. The soundtrack features samples from Bo Diddley’s “Bring It To Jerome,” David John & The Mood’s “Bring It to Jerome,” John Cale and Terry Riley’s “Church of Anthrax” and Screamin’ Jay Hawkins’ “I Put A Spell on You,” as well as sounds from drag races, Icelandic water and other field recordings.

Some video processing was done at Signal Culture artist residency. Video manipulation was done with Signal Culture’s apps Frame Buffer, Interstream, Retrace, Maelstrom, and SSSScan.

 

Time Travel Through Water
Sound by Justin King, 2015, 4:01 minutes

This video combines three bodies of water (in Vietnam, Tennessee, and Louisiana), that I traveled through in 2013 and 2014. By combining these three location, I allow myself to be in three places at the same time, a physical impossibility, but one that happens in our minds and bodies recurringly. The distortions of each section are created by mapping the time and luminance information from the previous section onto the following one, causing sections of the image to  skip or drag behind in time.

 

Limitless Serenity
40 seconds, 2015

Limitless Serenity is a looped video. It is part of a series of videos and collages that play with the form of self-help and koan-like statements. At first, these text-based works seem devoid of expression, but through repetition gain a concrete manifestation. The text is a mash-up from language cut-up from motivational, self-help, revolutionary and utopian literature, including words by Buckminster Fuller, Bez,James Churchward, Norman Vincent Peale, R.D. Laing, Twyla Tharpe, Chogyan Trungpa.

 

We Could Be Transcendent Apes: Encounter Module
8:34, 2016
sound by Kelly Marie Martin and Karl Erickson

Part of the series We Could Be Transcendent Apes which tells a story of personal evolution. It follows the journey of a traveler, a monster sent to earth to destroy the human race. Though programmed for destruction, he finds himself seeking a soul purified by the movement of the body, a self evolved through communion with the other. In his search for enlightenment, the monster journeys across diverse landscapes and pursues new forms of bodily expression of dance, movement, and meditation. Seeking the unattainable, he moves forward but never reaches his destination, in a constant state of ‘about to be’.

 

Memo to William Reed (re: Hyperborea)
sound Chris Colthart, 2014, 4:20 minutes

Produced while on the Arctic Circle Expedition residency and shown as a group in the exhibition “Monotonic Surfaces: An Account of the Arctic Regions,” Colthart’s hypnotic drone put me in the meditative, transportive state I experienced on the voyage, falling into worlds and dimensions long hidden. The video is a view from within the hollow earth. William Reed was an 19th century philosopher who theorized that the Earth was hollow, with holes to the core at the North and South Poles.

 

Stand By Me
sound by Careful (Eric Lindley), 2013, 2:09 minutes

The ecstatic feeling of the 24hour sun is tempered by the fragility of the Arctic landscape. Lindley’s gossamer interpretation of Stand By Me captured these emotions perfectly, and the video moves towards the ever shifting landscape, physical and emotional, of Svalbard. Produced while on the Arctic Circle Expedition residency and shown as a group in the exhibition “Monotonic Surfaces: An Account of the Arctic Regions.” 

 

Feedback Study (Frisbee) (single screen)
5:015 minutes, 2007
This is the single-channel version of a 2-channel video that is a formal experiment of making a video image dance and reach across two screens. It captures the experience of being on the beach with friends in Mexico. The goal was to set-up visual rhythms that were hypnotic and to distance the viewer from the normal experience of time through slow-motion, fast-motion, repetition and video over-lays. The visual is achieved by overlaying several layers a of video feedback on the image of people playing Frisbee, a simple pun. The music is by Jonathon Belli and myself.

 

Selected Other Works