A Pattern is a Map, durational performance with Cindy Rehm for homeLA Larchmont: The Way Light Moves Through, August 26th, three hours, 2017
“A Secondary Swirl on your Hardware”, Performed with Samantha Mohr and Kristen Klehr at New Shoes 10, Highways Performance Space, Santa Monica, CA, 17:00, December 2nd & 3rd, 2016.
“A Secondary Swirl on your Hardware” is a moving installation weaving video, drawing, movement and sound. Unmarked spaces in nature weighted down with violent histories, are the tipping point for this project, prompting the question, how does experience that is not part of our own direct history become deeply embedded as personal memory?
“A Secondary Swirl on your Hardware” began in the gallery at Highways.
“Constellations”, HD video of performed chalk drawing, created at Performing Arts Forum, St. Erme France, 4:17, 2015
“Double: 21 Lines”, Chalk drawing on wall performed with projection at Performing Arts Forum, St. Erme, France, 2015
“Double: Circle/Arc”, Chalk drawing on wall performed with projection at Performing Arts Forum, St. Erme, France, 2015
"Drum Circle", Google Hangouts videoconference drawing collaboration with International artists participating from Los Angeles, New York, Miami, Manchester, and Berlin. Six artists drawing simultaneously in response to the drawing sounds created by the group. Organized by Maurice Carlin, with Annette Knol, Anne Gilman, Ethan Hayes-Chute and Michael Namkung.
Presented at Open Sessions 4, The Drawing Center, New York, NY, single-channel video documentation edited by Michael Namkung, 00:38 clip from 8:37, 2015
“the invisible lake called telepathy”, performance with Samantha Mohr, 10:45, June 2015
(documentation by Weng-San Sit)
Strange Loop, Performed at Counterpath, Denver, CO, 2014
A 16’ paper mobius strip covered with drawings and text was cut while I tried to recall and name all of the places I have ever visited.
Squaring the Circle, Llano Del Rio Centennial Event, Llano, CA, 2014
Wearing boots with the words “Memory” and “History” cut into the soles, I repeatedly walked in a circle on a 15’ diameter canvas stitched with the plans for the Llano Del Rio colony. Stepping into blue paint, my boots printed the words on the canvas. I carried a full bucket of water that spilled and blurred the text and footprints.
Unproductive labor, repetitive and seemingly useless tasks are underscored in this circular walk - a Sisyphus-like act that suggested the failure of the Llano project and more generally the absurdity of life.
Duet, Anna Pavlova, HD video of performed drawing with sound, 3:45, 2013
Duet, Anna Pavlova combines a video of a performance by Anna Pavlova with a drawing performed in real-time. While the video is projected, I enter into the space and begin to follow Pavlova with my hand, tracing the gestures of her body within the projection generating a drawing in real time. In the end, the video fades to expose gestural lines, a record of both her movement and mine. In this project the incomparable Anna Pavlova becomes my digital collaborator. (See the drawing here.)
Duet, Isadora Duncan, HD video of performed drawing with sound, 2:00, 2013
Duet, Isadora Duncan combines a video of a performance by Isadora Duncan with a drawing performed in real-time.While the video is projected, I enter into the space and begin to follow Duncan with my hand, tracing the gestures of her body within the projection generating a drawing in real time. In the end, the video fades to expose gestural lines, a record of both her movement and mine. In this project the incomparable Isadora Duncan becomes my digital collaborator. (See the drawing here.)
Disappeared, performance with video projection and drawing, 26:00, 2012
Disappeared, a trilogy of drawings performed with video, is the first iteration of a larger long-term project. Each drawing is a portrait of a woman who has vanished from Los Angeles County based on their missing persons photo. The work honors the memory of these three women while underscoring the fact that women and girls of all ages and ethnicities in varied locations continue to vanish, often the result of a violent act and in many cases remaining a complete mystery.
In the performance the video begins as a complete image that slowly erases itself. I enter into the projection and draw over the projected drawing to generate a new portrait. The drawing and erasure process represents the presence and loss of these lives. For a moment, through marks made on a page, these three women are remembered.
Each portrait includes an audio track recorded at the general location* where each woman was last seen alive and a reading of their “vital statistics” including the scarce bit of information on the circumstances of their disappearance.
Demolition, live-transmission performance, 4:15, 2012
“Demolition” is based on a short time-lapse video of the Starr Theatre in New York City from 1902. As the architectural structure is demolished brick by brick over what is assumed to be a thirty-day period, it slowly disappears. One of the first time-lapse films, it demonstrated a powerful and magical collapse of time and form.
For this work, I created a time-lapse video of a drawing of the Starr Theatre based on found video footage. Once the drawing of the Starr Theatre was complete, I erased it.
In the performance the time-lapse drawing and the video of the erasure are projected side by side. The time-lapse drawing is reversed so that it begins as an image and slowly disappears. I enter into the projection and draw over the time-lapse drawing to generate a new drawing of the Starr Theatre. Once it is complete, it is erased.
In the end, the digital image fades and faint marks remain as a trace of my hand and the drawn form. This sequence of generating image and form followed by erasure works as historical, political and life cycle metaphor.
Here’s The Moves, live-transmission performance (10:00) and live performance (10:00), part of Spirit Resurrection at LACE, Los Angeles, CA, 2012
“Here’s the Moves” combines a video projection of animals with drawing, to study the physical forms and gesture of the animal movements. A series of gestural lines made with charcoal become densely layered on a large sheet of paper resulting in a record of both my movements and the animals.
The ten minute performance was generated in the private space of my Los Angeles studio and was broadcast live and projected at LACE. Following the live-transmission performance, I arrived at LACE and rolled the large drawing out on the floor. It was cut into 24 small drawings and handed out to the audience.
“Here’s the Moves” was inspired by, “Here’s the News” a performance by Bob and Bob shown at LACE in October of 1980.
(photos by Jorge Espinosa)
Duet #1, performance with Sofia Klass, 4:30, Max 10 at Electric Lodge, Venice, CA, 2011
Performance with dancer, Sofia Klass at Max 10 Performance Laboratory, Electric Lodge, Venice, CA, December 2, 2011.Using a live-feed camera and video projection, I trace the gestures created by my collaborator as she moves in real-time. Together we generate a dance and a drawing.
“Étoile, A Duet” (4:30, 2011), is a live transmission performance that combines a pre-recorded video of Yvette Chauviré performing The Dying Swan with a drawing performed in real-time to simultaneously expand and collapse space and time.
While the video is projected, I enter into the space and begin to follow Chauviré with my hand, tracing the gestures of her body within the projection. As Chauviré dances, I generate a drawing in real time. In the end, the video fades to expose gestural lines, a record of both her movement and mine.
I am particularly interested in the exploration of the drawn line in relationship to the projected image – the sound and sensation of the dusty charcoal pressing into the page is contrasted with the clean digital mark of light – subject to the whims of delay and degradation.
In “Étoile, A Duet”, a French ballerina who performed decades ago becomes my digital collaborator.
Mirror/Mirror, 23:00 minutes, a live transmission performance performed at the "Myself" exhibition, Shepperd Fine Arts Gallery, University of Reno, February 18, 2011
“Mirror/Mirror” is a performance developed and performed for live transmission over the Internet. The project uses pre-recorded video and drawing performed in real-time. In the projected video I am seen drawing a self-portrait. However, the drawing is reversed and is disappearing. While the video is projected, I enter into the space redraw the portrait following my hand and the line in the projection. As the virtual line disappears in the video, I recreate it in real time. In the end, the video fades to white and a new drawing created during the performance becomes visible.
"Hand Drawn" was performed as a live transmission on July 7, 2010 as part of 6X6: Mystery at Cine Lab in Athens, Georgia
(1:00 clip from 4:00 performance.)
"I Can See You. You're Not Here."
performed on April 30, 2010 as a live transmission in Low Lives 2.
(excerpt from 3:30 performance)
Without Risk of Excessive Loss, 55:00, October 2007
A collaboration with dance artist Rae Shaolan Blum and sound artist Steve Roden that included video, drawing, movement and sound. Simultaneously a performance and installation, this multimedia work focuses on aspects of human behavior in our attempt to cope with and manage the scale of our impact on the planet.
It considers the notion that a human condition is an ecological condition and vice versa. Scientific facts, personal stories and questions surrounding the evolutionary life of our biosphere are layered as improvised spoken word and readings derived from various environmental texts.