Interactive installation | Tisch School of the Arts, NYU, New York, NY | 2019
For the annual PRAXIS conference at NYU’s Tisch School of the Arts, I further developed the idea begun with In the Milking Parlor. I created a free-standing structure with tacky, fleshy gum rubber walls, and invited viewer-participants to enter, prompting them to sense oneself, and the possibility of another, through the interplay of light and texture, containment and positioning, gravity and its fallout. They were then asked, as with In the Milking Parlor, to engage with the piece by cutting to release vessels from their dangling homes. Inside the egg-like clay vessels, which smashed open upon hitting the floor, was a poem.
Interactive, site-specific installation | Union, ME | 2019
As part of Fugitive Spectator: Farm Edition, I created this interactive installation in an old dairy milking parlor. Prompted on their smartphones via geolocation, viewer-participants were invited to cut open the toe of one panty hose leg, allowing the clay ball inside to fall and crack open on the floor. Once open, viewer-participants could retrieve written notes stuffed into pill cases which had been embedded within the clay balls, now revealed.
Interactive, site-specific installation | Union, ME | 2019
As part of Fugitive Spectator: Farm Edition, I created this interactive installation in an old dairy barn, surrounding the platform on which I performed a separate piece. As views/participants neared the landscape of strewn eggs, their cell phones prompted them to remove their shoes and step, stomp, jump, and dance on hard boiled eggs, focusing on the direct sensations of texture and temperature as well as the internal emotions those sensations elicited.
Barn installation | Rockport, Maine | 2015
As cumulative product and residue, these paper moebius strips accrued in the barn loft where I sat for an evening, silently cutting and hanging, cutting and hanging. Viewers were invited to cut with me, offering an encounter with themselves that enfolded subject and object via the action of their bodies with the paper—the inseparability of inside and outside on the moebius strip a result of and metaphor for the body’s reflexive surfaces, where the boundaries between interiority and exteriority, oneself and the world, are in constant reciprocity with one another.
Street installation by invitation from the Center for Maine Contemporary Art | Rockland, Maine | 2015
Thinking of the vibrant materiality of such substances as plastic, water, and rose hips, I created a garden of wilted bottles on a rocky break in the sidewalk: small bodies containing, associative, affective.
