The Preserver and The Destroyer
Twin sisters sit back to back on the floor. They complete a circle by sitting at both ends of a long knitted cloth some 8 feet in diameter. One sister "un-knits" from the
cloth, pulling the knots apart into a single strand. This strand then goes to the other
sister, sitting at her back, who uses it to knit back into the cloth. Both work at the
cloth, pulling the knots apart into a single strand. This strand then goes to the other
sister, sitting at her back, who uses it to knit back into the cloth. Both work at the
same pace, one always taking from, one always giving to, therefore the length of the cloth always stays in balance, never getting longer, nor ever getting shorter. The performance lasts for the entirety of a show opening.
The Preserver and The Destroyer
Twin sisters sit back to back on the floor. They complete a circle by sitting at both ends of a long knitted cloth some 8 feet in diameter. One sister "un-knits" from the
cloth, pulling the knots apart into a single strand. This strand then goes to the other
sister, sitting at her back, who uses it to knit back into the cloth. Both work at the
same pace, one always taking from, one always giving to, therefore the length of the cloth always stays in balance, never getting longer, nor ever getting shorter. The performance lasts for the entirety of a show opening.
Twin sisters sit back to back on the floor. They complete a circle by sitting at both ends of a long knitted cloth some 8 feet in diameter. One sister "un-knits" from the
cloth, pulling the knots apart into a single strand. This strand then goes to the other
sister, sitting at her back, who uses it to knit back into the cloth. Both work at the
same pace, one always taking from, one always giving to, therefore the length of the cloth always stays in balance, never getting longer, nor ever getting shorter. The performance lasts for the entirety of a show opening.
Knowing / Believing
Two figures, one male one female, sit across from one another in front of typewriters. One performer addresses the question: "What is it like to know?". Meanwhile the other performer addresses the question: "What is it like to believe?" They type their responses out on a paper that forms a figure eight between the two typewriters, thus creating a continuous loop. Eventually the answers from one of the performers will reach the typewriter of the other performer and visa versa. The performance lasts for the entirety of any show opening.
Arriving
scanned 35mm film negatives form a continuous loop which documents the performance "Arriving." Here I explore the illusion of progress in response to the
readings of Richard Rorty and William James
scanned 35mm film negatives form a continuous loop which documents the performance "Arriving." Here I explore the illusion of progress in response to the
readings of Richard Rorty and William James
Arriving
scanned 35mm film negatives form a continuous loop which documents the performance "Arriving." Here I explore the illusion of progress in response to the
readings of Richard Rorty and William James
readings of Richard Rorty and William James
Either / Or
two participators stand on either end of the table and address a question through writing. They are asked not to speak to one another, but to simply communicate by their connection to one another through the string tied to each of their pencils. This string is only long enough to make it so that one person could
write "comfortably" at a time, however the string can be stretched enough for them to both write at the same time. The harder they pull against one another, the harder it is to write, and in most cases, the harder it is to read what they write. The small tree in the middle becomes a visual indicator of their ability to work together. When they fight against one another the tree is choked, when they work together, it easily
write "comfortably" at a time, however the string can be stretched enough for them to both write at the same time. The harder they pull against one another, the harder it is to write, and in most cases, the harder it is to read what they write. The small tree in the middle becomes a visual indicator of their ability to work together. When they fight against one another the tree is choked, when they work together, it easily
bends to one side or the other.
Tire Landia
Performance at Bonniville Salt Flats, UT. In using the Myth of Sisyphus as a visual reference I respond to notions of Legacy in American progress, car culture, and consumerism
Tire Landia
Performance at Bonniville Salt Flats, UT. In using the Myth of Sisyphus as a visual reference I respond to notions of Legacy in American progress, car culture, and consumerism
the Domestic Nomad (still image)
I created a portable domesticated environment and documented my exploration of Texas, New Mexico, Nevada, Arizona, and Utah during the Land Arts of the American
West Journey during the Fall of 2014. Here I explore the domesticated and
undomesticated landscape and confront notions of boarders, safety, and land ownership.
I am interested in how the fence becomes a device that segregates the
landscape and becomes a reflection of a human propensity to create systems of value.
I created a portable domesticated environment and documented my exploration of Texas, New Mexico, Nevada, Arizona, and Utah during the Land Arts of the American
West Journey during the Fall of 2014. Here I explore the domesticated and
undomesticated landscape and confront notions of boarders, safety, and land ownership.
I am interested in how the fence becomes a device that segregates the
landscape and becomes a reflection of a human propensity to create systems of value.
the Domestic Nomad (middle screen)
I created a portable domesticated environment and documented my exploration of Texas, New Mexico, Nevada, Arizona, and Utah during the Land Arts of the American
West Journey during the Fall of 2014. Here I explore the domesticated and
undomesticated landscape and confront notions of boarders, safety, and land ownership.
West Journey during the Fall of 2014. Here I explore the domesticated and
undomesticated landscape and confront notions of boarders, safety, and land ownership.
I am interested in how the fence becomes a device that segregates the
landscape and becomes a reflection of a human propensity to create systems of value.
landscape and becomes a reflection of a human propensity to create systems of value.
the Domestic Nomad (3 Channel View, excerpt)
I created a portable domesticated environment and documented my exploration of Texas, New Mexico, Nevada, Arizona, and Utah during the Land Arts of the American
West Journey during the Fall of 2014. Here I explore the domesticated and
undomesticated landscape and confront notions of boarders, safety, and land ownership.
I am interested in how the fence becomes a device that segregates the
landscape and becomes a reflection of a human propensity to create systems of value.
I created a portable domesticated environment and documented my exploration of Texas, New Mexico, Nevada, Arizona, and Utah during the Land Arts of the American
West Journey during the Fall of 2014. Here I explore the domesticated and
undomesticated landscape and confront notions of boarders, safety, and land ownership.
I am interested in how the fence becomes a device that segregates the
landscape and becomes a reflection of a human propensity to create systems of value.
