Having such a positive experience of teaching several sections of stop motion classes at, The Maine Arts Camp, I've decided to [seriously] experiment with them myself. Placing characters in the infinity box has created greater confusion than clearer articulation.
I have no idea where this will go or what sideways ideas will inform other genres of [my] art.
Wanting to contribute [with greater collaboration] to our evolving sculpture garden, I decided to make a weather proof monitor, attached to a rebar sculpture. The end result has been a stellar experience; my son and I value how the infinity box and the monitor play off each other, speaking to the stone community in the yard.
Check Them Out
We've been getting our hands dirty in creative projects since he could walk. With his progression into his own creative voice, I've found a new diligence in capturing his methods; he is a stronger & more precise welder than I.
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I haven't taken over the interior of a space, visible from a sidewalk, in years. Video installations are a way to consider constancy, lighting, time of day, imprecise looping of multiple channels, and how to repurpose tubed monitors being discharged from the local university. Content was developed from a variety of sources, including: debates, the booth, interviews, or theater rehearsals.
See What They Are
Often I'm limited to using a static camera; a stationary position leaves little room for [my] creative expression. Excessively produced videos are intended to take someone else's art as the primary consideration, and manipulating it in the editing room, to create something new. I strived to create something illiciting considerations, as a result of what is seen on a screen rather than heard.
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Christopher Irion (irionphotography.com) was brought into Silver City, NM to construct one of his exhibits of large portraits shot inside a booth, of community members. His exhibit was so profoud, that a friend & co-collaborator, Janey Katz (janeykatz.com) constructed a photobooth, which we used for video. Folk would enter through a curtain on the side, sit and face a wood wall with two holes, for two lenses. I set the booth up at Pickamania for anyone to enter and play a song; I provided instruments if they had none.
See Who They Are
Workng in the ITVC Department at WNMU, I'd have access to all kinds of antiquated technologies (e.g. old tascam cameras using RCA cables). I played with setting up live feeds (kitchens, open mic nights, etc) as a projected wash over folk I'd interview. It wasn't unusual for a live feed to project onto the side of the building that was hosting an event (including fine dining).
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The concept, "Safe Space", was shared [with me] by George Reid; he's not an actor, but he photographed actors. He found the greatest photographic pleasure when he "felt" free to capture any (emotional) event as it unfolded. In his scene, no one was going to say, "get that damn camera out of my face." Eventually, I found myself working the lights (15 rheostat switches mounted on a handmade plywood box) for a Virus Theater (virustheater.com) performance, leading into photographing rehearsals, leading to video taping whatever I wanted. It was a safe space. The art of acting blew me away, the emotional depths that actors would develop and own, provoked me to interview them.
George Reid Books / Photography See Who They Are
Regardless of what oranization I work for, what board of directors I'm sitting on, or what department I'm working for at the university, I always find a way to contribute media - often it has little utility beyond my experience of developing it.
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"Where does art come from?" This was the question posited to a handful of local artists. Responses were developed into an installation for one of Silver City's Gallery Walks. Final content was project onto interior walls and run through 21 computer monitors.
See Who They Are
While working for the ITV Department, I attempted to grow, share and encourage the university community to engage our makeshift chroma key studio, along with two hallway walls to exhibit images. If artists wanted to exhibit their work on the walls, they would have to endure my instructions, in the chroma key studio. In return, they received ample wall space for exhibiting their work, and a video looping on two monitors - focused on them.
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"I'm going to try this idea or process out and see what happens." Such a sentiment encapsulates how I push ideas. One concept revolves around, "The Special Needs Project"; this idea involves playing instruments with others - none of us knew how to play the instruments we were playing. Another idea focused on engaging students into creating art by using their rifles; many New Mexican students are hunters & ranchers. Spray paint cans dangled in front of a Canvas, that were then shot. The outcome was turned into a video.
See What They Are