These zoetropes were created as part of a workshop during the 3rd Annual ILSSA Group Residency at North Mountain in Hedgesville, West Virginia. Collaborators each spent the day learning about the animation process and building their own zoetropes, and I then filmed the resulting devices and set it to a song sung by fellow residents Stina Soderling and Tristan Gordon.
The resulting film premiered during a North Mountain Retrospective gallery exhibit at Phaze II Gallery at Shepherd University in September of 2018. Along with the zoetropes was exhibited a zine I created based on a stanza from the Tom Wayman poem “Did I Miss Anything?” and our residency group sonic meditation led by Tristan and Stina.
Created a month before the 2016 US Presidential Election, Every Single Inch of Ground is a pixilation animation based on Susan B. Anthony’s remarks on the importance of ancestral women in gaining the freedoms and privileges of present-day women. To acknowledge this gained ground, as well as express a more inclusive solidarity, I chose to invite men and women to mark every inch on which we stood. It was photographed in a single day by way of a twelve-hour dolly shot with participants standing along the path from the middle of Mt. Hope Cemetery to where Anthony is interred.
Every Single Inch of Ground premiered at the Museum Van Loon in Amsterdam in 2016 as part of the NYFA group show Borderless: In Time, and also exhibited concurrently at Lite-Haus Galerie in Berlin as part of Borderless: In Perspective.
Labor of Love (Mutoscope) is a sculptural animated loop inspired by vintage animation devices found in late 19th century arcades. The title of the piece references, in part, the process of creation. In order to build the machine by hand, I had to learn, among other things, how to weld, an act of reclamation that held great relevance as the animation inside (hand-drawn digitally before being printed and die-cut) depicts the dissolution of an artistic partnership and the consequent loss of access to particular skills. Along with the design of the machine itself, I designed and built several prototypes for the mechanism to hold the individual animated frames. More information on the making of this animation reel can be found here. The decision to design and build a functioning machine by hand contributed to artistic and emotional growth and ultimately catharsis, the project taking over three years to complete.
Labor of Love was funded in part by an RIT FEAD grant, and its production was supported by RIT’s College of Engineering Technology Packaging Science program, where the first successful page prototypes were printed and cut. It was most recently shown at Magenta Gallery in Exeter, NH, and will be part of an upcoming group show Disegno-in-Motion at Marymount Manhattan College in September 2020. The process of making Labor of Love was presented during the Art Talk Series at SUNY Geneseo in October of 2017 and in my 20/20 presentation “Looking Forward by Looking Back” at the 2017 RIT Research and Focus Colloquium on the theme of Perception.
Handwork, Routine, Care, Community and Environment.
Utilizing single frames from my VR film Swing, poet David Yockel Jr. selected and hand-traced with carbon paper eleven drawings from the film, writing six-word, ekphrastic poems for each, which were then hand-lettered and carbon traced by me onto the same page.
Tired Tongues is a replacement-animated film consisting of over five hundred individual Pollack Flavor Co. stickers originally found in a dumpster and re-purposed as animation “frames.” All the lettering was hand-drawn using a light table and traditional straight-ahead technique. Based on two tankas (a Japanese poetic form) written by David Yockel Jr. on the theme of self-censorship, the film follows the poem through Brooklyn, NY where the words became a temporary part of the landscape, removed after each photo was taken.
Tired Tongues was commissioned by David C.Terry for the group show Decensortized: A Safe Space at Westbeth Gallery in New York City in 2016, and included an installation component where viewers were invited to create their own sticker communicating anonymously but publicly a thought they would have otherwise censored. This installation was recreated in RIT’s Bevier Gallery as part of the CIAS (now CAD) Faculty Show, and the film alone screened as part of the Frankly Film Festival in 2017.