About The Show : The Work : The Mediums : Gallery Guide

WORK: page 1 | page 2

Jesse Kriss
Dead Air, Live

Dead Air, Live turns the local radio signals into an interactive (and indeterminate) composition.

Peggy Nelson

#scryberspace plays with the sense of occult anticipation that we bring to even our everyday computer use. To scry is to search, and to interpret the signs. And to scribe is what much of our online interaction is literally composed of: we write, and write, and write again. We write acronyms, long rants, hyperlinks, emoticons. We code both communication and secrecy. We write to express ourselves and to invent ourselves anew, to conceal, to reason, to seek, and to connect. "John Dee" is us, collectively, filtered through the virtual spaces we have literally written into being.

David A. Parker
Time Switch Series

The Time Switch series arises from my efforts to maintain a view of existence, specifically time, that transcends conventional bounds. I want to do this because regarding time from a range of perspectives can prompt reconsideration of what is important - a resetting and recalibration of priorities for our brief lives. Astronomer Carl Sagan spoke of the Voyager mission's 1990 photograph showing Earth as a tiny, pale blue dot: our posturings, our imagined self-importance, the delusion that we have some privileged position in the Universe, are challenged by this point of pale light. ...It has been said that astronomy is a humbling and character-building experience. There is perhaps no better demonstration of the folly of human conceits than this distant image of our tiny world.

In a similar way, the 1968 film "Powers of Ten" from Charles & Ray Eames considers one subject from a vast range of scales, from the microscopic to the cosmic; the film is now shown in schoolrooms across the world, presumably because it ruptures normative consciousness by revealing the blossoming plurality within that which may appear singular.

I like to think that with Time Switch I am following a similar course for my generation. Now, thanks in large part to information technology, we have a more nuanced and sophisticated understanding of space. Virtual presence can be an acceptable, or even preferable, alternative to physical presence; gaining this choice is gaining mental power. In contrast, our relationship to time, despite all our talk of "time management," remains largely uncritical, even unconsidered. I want to complicate our singular view of time as an effort toward attaining greater mental freedom.

To do this, I start at the nexus of a cemetery and a quarry, a place where a life merges into the epic scale of geologic time. The limestone quarry is a mass of countless creatures, fossilized under an inland sea that has since vanished. That stone is now being removed and processed into plaster, concrete and other materials. Thinking about this place and its implications can lift us outside of the "box" of our own lifespan as a frame of reference, and into the field of the wider world. I push this movement further by setting up several points of view through imagery from my personal experience, perhaps in the manner of the Eames's film. "Powers of Ten" demonstrates that there exist myriad spaces within space, and reminds us that perspective is always a matter of personal choice. I am attempting to do the same with regard to time – to shake up conventional viewpoints and to restore a sense of the multivalent and even arbitrary nature of our concepts. I hope that these images can function like Sagan's photograph, and that our taking the long (even very long) view of our place in time may challenge delusions and prompt productive reconsiderations.

Silvia Ruzanka
Ginger Minus Fred

The late Ann Richards, former governor of Texas, was famous for saying "Ginger Rogers did everything Fred Astaire did, only backwards and in high heels." In Ginger Minus Fred, Fred Astaire is erased from a dance sequence with Ginger Rogers. The results are unsettling and hypnotic as she dips, bends and contorts around her non-existent dance partner

Silvia Ruzanka + Ben Chang
De Ondas y Abejas

Andrew Sempere
Bowl of Oceans: Meditations on Burst Philosophy

A bowl of water sits on a pedestal in a small room. A ladle sits in the water, and as you stir and pour you hear the sounds of the ocean, which grow louder the more you trouble the water.

Leslie Sharpe
Ghosts for Cellphones: 10 captures

I am haunted. Haunted by tales of electronically-charged change. Haunted by promises of formlessness, disguise, hidden identity. I can't shake the longing to 'beam up,' to pass through time and form, to function like a charged-up device without a shell.

Dima Strakovsky
Meditations Part I

"Meditations Part 1" is created around an excerpt from Bertrand Russell's introduction to Lugwig Wittgenstein's "Tractatus Logico-Philosophicus". In it he describes a possibility of perfection in language and relates perfection to its ability to fulfill its "function": to confirm or deny truth.

My aim is to create an experience that at once supports and undermines this statement. The work creates a fluid setting in which sound is shaped by it's immediate context and "meaning" of the text arises from the unlikely interface between two separate sound sources.