Tag Archives: art and new media

BEDtalks #9

Bedtalks 9 poster by GRAFT Gallery

In November, I was invited to participate in BEDtalks #9, part of a series of short, powerful pillow talks from Albuquerque artists, organizers, educators, scientists, and people of interest, presented from the comfort of a twin sized bed.

The event series is hosted by GRAFT Gallery, and the 9th installment was featured at TLab/Tricklock Theater downtown.

Each speaker is given only the parameters of 20 slides in 10 minutes (a pecha kucha style, fast-paced talk). Talks range from educational to absurd, global concepts to deeply personal stories.

I was so pleased to be part of the event, and I set to work creating a special, performative artist talk especially designed for the talk series, focused on my recent body of work Channeling – Televisual Memory and Media Seance (dealing with spaces of summoning, rebroadcast, loss, falling apart, media memory, possession, and media seance).

Instead of a formal artist talk, I designed my slides and performance pace to suit the theater audience and environment, providing an anxious, fast-moving intensity. I even included an excerpt (reprise) of the poem, “Invocation,” which I performed during the Channeling closing event.

The stage was set with the odd intimacy of a public-private bedroom, which offered the perfect kind of voyeurism for my talk. Other speakers also made use of the uncanny display of public-private qualities.

Introductions provided by GRAFT gallery co-founders and coordinators, Jazmyn Crosby, Beth Hansen and Cecilia McKinnon and Jessica Chao (not pictured)

The #9 Edition speakers were:

Ren Adams
Matthew Gonzales
CB Bryan
Rudi Thornburgh
Jenette Isaacson
Ayrton Chapman
Marya Errin Jones
Sean Campbell
Elizabeth Murphy

I created a virtual version of the performative talk, which still adheres to the 20 slides in 10 minutes format, with all of the original slides and pacing that I used for the actual event. If you missed the original performance, or want to experience my talk again, please enjoy:

The experience was incredibly rewarding, and offered a certain quality of liberation; I trimmed down the “art speak” in favor of a more engaged and theatrical audience. The results may affect the way I go about doing artist talks in the future–creating performative and engaging conversations that don’t get mired in strictly art historical or theoretical bounds. Not that I don’t love art  history and theory, though, because you know I do. 🙂

Foothill Incident, Mojave Superchase

Mojave Superchase


Foothill Incident Sequence


Preparing digital images for the interactive View-Master component has been thoroughly enjoyable–and challenging in an entirely new way. I’ve been working with new image sequences and revisiting older mutations, revising and revitalizing them for slide-based viewing. The sets I’ve made so far are back lit 2D designs, which is important to experiment with as I’d like to see how effective the 2D reels are at delivering a back lit digital datascape.

I’ll be bringing three digital reels with me to the residency, plus two View-Masters. The reels are an experiment in presenting a semi-narrative through interrelated digital images, which dance around a core condition (a gunfight car chase and an accident near the Foothill Freeway). Both of these reels suggest the video art,  but are not duplicate content. The third reel, First Responder, is an experiment in breaking transitional stills out of Elevator (Finding a Way Out of Here, I hope), in true View-Master brand fashion. I also have several categorical reels in the works, which break screen caps into typologies: guns, cars, mountains, etc (a suggestion from Kevin). Bottom line is, the reels need to have a cohesive language that ties their chain of 7 stills together, whether it be an organizational typology or a semi-narrative expression.

Building true 3D stereoscopic images is complex and I won’t be finished with even one reel in time for January, but I do have 3D reels from Emergency! and Knight Rider that I can provide for critique. Viewers can contrast the effectiveness of the 3D with the back lit 2D (which more directly references a screen), by using the official screen cap reels as examples. We can also figure out if the 3D seems cheesy (for lack of a better word), or if 3D is the right direction.

My mentor feels certain that the reels need to provide a true 3D experience, especially in a contemporary context, so I am working on stereoscopic versions of the above sequences, as well as 3D categorical reels.

First Responder


Slide from First Responder


The Cascade – Integrating Color Palettes (Digital and Natural Collision)

Color is integral to the formal and conceptual production of my work.

My central palette, a specific, warm range of earth tones,  has parallel roots in the sacred lotus and the ubiquitous desert landscape that permeates my relationship to geographical space.

In developing color, I start with a root value (usually a warm, light yellow with a touch of pink) and modify continuously and fluidly through the printing or painting session. The same core color takes on new character and form as it is manipulated spontaneously (within an understood framework), much like the “atomic” or “informational” units I see in the pieces themselves. The atoms coalesce to form new expressions, then fall back away into components laden with possibility.

The Cascade brought a new angle to my palette:


The nature of video (and the unique time period in which my core material was filmed, with its own  technology-influenced, regional colors) brought more blue to the mix.

During the residency, a number of viewers found this addition to my desert palette an engaging evolution. The blue related to both the vastness of sky in the west and the buzz-blue of digital-video aesthetics.

That the iterations of blue I emphasize in the Cascade speaks of both physical geography and deep, digital space is exciting and incredibly relevant to the concept. It emphasizes the strange reality of life mediated through TV, while suggesting watercolor and interdisciplinary process.


The still above is one of the pieces that fully integrates the digital and desert palettes, emerging as an entirely new association of color.

I’d like to investigate the palette in this pivotal moment with great care this semester. Oliver Wasow suggested that I closely examine the point where electronic color goes up against natural color, and how this tension (and potential harmony) communicates and interacts with the viewer.


The blue-dominant still above and the orange-brown dominant piece below contrasts the two palettes dramatically, yet the presence of the desert palette still exists in the Cascade piece, however subdued. A touch of crossover blue also occupies Data Pulse (below).

"Data Pulse." Layered serigraphy, woodcut, acrylic monotype, collage, direct ink.  About 20" x 20".

“Data Pulse.” Layered serigraphy, woodcut, acrylic monotype, collage, direct ink. About 20″ x 20″.