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Magic Highway U.S.A.
This project was created in conjunction with undergraduate thesis research at Washington University in St. Louis in the spring of 2013. It was created by digitally splicing and manipulating individual frames of twenty historically-significant and thematically-related video and audio clips.
Despite its disjointed nature, the overall moving image presents a narrative exploring the relationship between technological innovation and cultural development in recent history. It particularly examines the evolution of digital media and how it has impacted artistic exploration in analog media, particularly cinema and television.
April 2013.
I will be showcasing my newest digital media installation at
Check for Traps! Exhibition
on April 25th at 3325 Cherokee Street Gallery in St. Louis, Missouri.
Here is a video sample of what will be on display.
The Great Dismal Technosphere
Mixed-media installation and performance. Digital video DVD 6-minute loop.
This video was displayed as part of the installation and performance “The Great Dismal Technosphere” at the PDA: The Second Annual thesis exhibition for undergraduate printmaking students at the Sam Fox School of Design and Visual Arts at Washington University in St. Louis. Des Lee Gallery, St. Louis, MO. April 5-7, 2013.
Artist Statement from the exhibition:
Experimenting with performative and interactive installations and new media, my work conflates the digital human experience. I construct distorted and surreal spaces for collections of artifacts and ideas to create alternate realities of information. With an emphasis on repetition and imitation, I construct spaces that emphasize the tension between reality and history, inviting people to become immersed within a world that feels familiar but not entirely their own.
For my undergraduate thesis, Remaster 3 — The Great Dismal Technosphere, I created a complex performance installation and video that expands on my intellectual interests and art presentation experiments. Retelling the iconic story “The Sorcerer’s Apprentice” in a stylistic recreation of Matthew Barney’s Cremaster Cycle series, the installation and video displays an abstract narrative that reflects my personal understanding of dream construction and my research on social and cultural transformations brought on by the Digital Age. Merging various retellings of the story through sound recordings and subliminal film interventions, the video and performance mark a significant evolution in my roles as artist and curator of historical subjects and popular media. For the thesis exhibition, the performance is recreated in the gallery space with the video playing alongside. Inviting people into the space and offering them to take part in the game and drink from the cups, I am pushing people to interact with the objects and performers in an active participatory experience.
Here is the event card - which was co-designed by the undergraduate printmaking program - and link to official exhibition announcement by the Sam Fox School of Design and Visual Art:
http://sfac.wustl.edu/events/student-exhibitions/8203
Here is the official exhibition video announcement that was broadcasted through the social media platforms (Facebook, ArtSlant, YouTube, etc.). Shot and edited by Joe Winograd.
Some preview shots from the upcoming Remaster 3 - Great Dismal Technosphere project.
{La merda Della Pastiche (3 of 55)
Screenprinted labels and soup can display, December 2012
Conscious of current trends in Internet research with online encyclopedic archives, it has become clear that humans have changed the way that we learn. In a time where vast information is at our fingertips, we are able to quickly browse through endless collections of subject material with the push of a button. In doing so, however, we have reached a point that we feel that, by merely reading a few short sentences on a subject, we gain “full understanding” for something in just a few short minutes. With this in mind, we have developed an attitude favoring larger collections of shorter and simpler packages of different information versus an intimate and in-depth analysis of one topic.
I have created a visual display to emphasize this transformation. When first glancing on the pyramid of soup cans, one would assume that it is merely to replicate the supermarket sale display. Up close, however, all of the soup labels have been custom screenprinted and the Campbell’s name has been replaced by names of various artists, musicians and filmmakers. By creating these “condensed” containers to house each name, each can represents a consumable form of the short paragraph one would read on each subject on the Internet.
The soup cans also emphasize how such knowledge has become a household commodity, much like Andy Warhol’s Soup Can art. The title of the work refers to the infamous work La merde d’artista by Piero Manzoni.
This work was included in the Joe Winograd Flash Exhibition on December 10th, 2012
February 2013
Song: Original remixed clip from the Late Night Secret Set performed by Phish at their Superball IX Festival, Watkins Glen, NY (July 3, 2011)
Zero Halliburton and the Nuclear Football, part 1
January 2013
This was created by recording a “Spinning Brakhage Record” performance.
Song: Original mix of “The Impulse” by the Flaming Lips, from the album “Embryonic” (2009).
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January 2013 Song: Original mixing of “Tahiti: A Summer Night at Sea” by Les Baxter, from the album Ports of Pleasure (1957)
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