Installation, variable size. Six 1080p video loops:
Rewind Redact Black Square Edit (China), 2017, 2:42 minutes, 1920 x 1080
Rewind Redact Black Square Edit (Italy), 2017, 3:09 minutes, 1080 x 1920
Rewind Redact Black Square Edit (India), 2017, 2:09 minutes, 1080 x 1920
Rewind Redact Black Square Edit (Netherlands), 2017, 1:33 minutes, 1080 x 1920
Rewind Redact Black Square Edit (Paris), 2017, 2:58 minutes, 1080 x 1920
Rewind Redact Black Square Edit (Russia), 2017, 1:33 minutes, 1080 x 1920
2017
A site-specific video art installation from the Rewind Redact Project, in collaboration with deconstructed Vogue magazine print objects by Lucy Sweeney.
Three LED displays, wall mounts, 3 media files, 2 lights, 2 framed photos, 2 cloth pots, one rug, one sofa, two freestanding tumbleweed sculptures. Dimensions H x L x W (9′ x 9′ x 9′).
2016
Three channel video installation featuring a supercut of clips extracted from film and television depicting cannabis use, production, and distribution. My practice is to watch media and note any cannabis on the screen, as if I were a media censor in a time and space of total cannabis prohibition. Over time,this process has created a growing archive of clips that depict cannabis as a character in the larger war on drugs. The sequenced clips in this video installation use this archive, but only the parts that contain a female character on the screen. This subset is further shaped by new searches gathered from exit interviews, and then using these terms to create subsequent loops with suggested searches such as “giggling,” power and money, dealing, actual medical use, and others.
Two to six channel video art installation. Two to six 34 inch LED televisions, wall-mounted adjacent to each other in landscape orientation, synchronized 19:44 minute 1080p loops.
2015
Samples six characters from two seasons of Star Trek episodes, and re-constructs two seasons in a condensed form, where all the characters have the same amount of “screen time” as the character Uhura, with the added proviso that all the characters are shown talking equally to each other in a random fashion, or conversing alone with a representation of space.
Two-channel video art installation, size variable. One or two 34 inch LED televisions, wall-mounted in portrait orientation to be adjacent or line-of-sight, two 54:00 minute 1080p synchronized loops.
2015
A site-specific video art installation, inspired by artist books produced by foreign artists visiting Japan: Kathan Brown (Paradise, 1982), John Cage (Silence, 1961), and Birgit Skiold (Zen Gardens, 1973). This work combines the transnational print and video aesthetics of three countries into a new hybrid form. Not wishing to be bound to a fixed form on paper, a visual machine constantly creates new video combinations from three main sources: the garden landscapes posted on social media at the Nezu Museum in Japan, three pure colors, and multiplications of pure color with printing plate engraving marks and noise. The generated images are re-inscribed from paper to a video screen with the carousel swipes of the contemporary mobile web mixed with simulated vertical rolls and glitch found in experimental video art by Nam June Paik and Andy Warhol. The result is a combinatoric, ever-changing iconography machine spanning contemporary San Francisco, Tokyo, and London.
