June/July Artist – Jeremy Rotsztain

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Electric Fields – Jeremy Rotsztain (Portland, Oregon, USA)

Electric Fields is a series of three software-generated animations that blend virtual worlds and abstract painting. Each animation embarks on a slow, meandering trip through an infinite world filled with colorful software-generated forms. Morphing and expanding, the gesture-like forms simultaneously appear as brush strokes and fields of digital information. Virtual cameras, cartesian perspective, parallax and atmospheric perspective elicit the sensation of floating through a painterly environment.

www.mantissa.ca

May Artists – Sarah Knoebel, Lei Han, David Bickley

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The UMW Media Wall artists for the month of May are Sarah Knoebel, Lei Han, and David Bickley.

Cycles (no. 2) – Sarah Knoebel (Billings, Montana, USA)
Sarah Knobel is a photographer and video artist. Her work has been featured in exhibitions national and internationally, which include  Miami, Seattle, Portland, Kansas City, Washington DC, Germany, Belgium and Greece.  Sarah holds an MFA in Photography from the Design Architecture Art and Planning Program at the University of Cincinnati and a BFA in Studio Art from Texas State University.  She is currently an Assistant Professor of Art at Montana State University in Billings, Montana. www.sarahknobel.com

GLASS #1 – David Bickley (Cork, Ireland)
Anglo Irish artist, filmmaker and musician David Bickley (b. 1961) audio visual works/installations are abstracted, largely process led adventures mainly on themes of nature/landscape but also with points of reference to mythology and symbolism. They rely heavily on texture and mood and tend to sacrifice the topographical in an attempt to capture the spirit of the places depicted using memory or feeling. Other works are digitally manipulated landscapes designed to evoke a sense of animation and accelerated time-scale. His practice incorporates film, music, video, immersive environments and sound art. David graduated from WSCAD with a BA in film in 1983. Past exhibitions of his work have included Gallery of City Museum of Aveiro, Portugal; Haun Tie Art Museum, Beijing, China; Common Ground, International Touring Exhibition; Lewis Art Gallery, Millsaps, Jackson Mississippi; Centre For Creative Practices, Dublin; Crawford Municipal Gallery, Cork; The Big Chill Festival,Eastnor, England; County Hall, Cork; Eisge, Carlow; The Dock, Leitrim; and Darklight, Dublin. David Bickley lives and works in Cork, Ireland.

Cycles- Lei Han (Asheville, NC, USA)
Lei Han is an artist, educator and designer. Her work, often inspired by nature and everyday life, explores notions of perception, memory, transience and time. Fascinated by the influences of eastern philosophy in western art, especially in modern and contemporary art, her recent work aims for creating the cohesion between spirituality and creativity, as well as making new connections between the artist, viewer and object/subject. Lei’s current work in experimental video, animation, interactive art and installation, has been exhibited at galleries, museums, and film festivals nationally and internationally. Including Shenzhen & Hongkong Bi-City Biennial, China, the State Museum of Contemporary Art, Thessaloniki, Greece Biennale; Krannert Art Museum, Illinois, the Arts Center, St. Petersburg, Florida, Asheville Fine Arts Theater and the North Carolina Visions program.

Lei received her BA from Shenzhen University in China and her MFA from Memphis College of Art in Memphis, Tennessee. She is currently an Associate Professor and Director of New Media at the University of North Carolina at Asheville.

April Artists – Shannon Novak, Jean-Michelle Rolland, Will Hurt

PhotographerThe UMW Media Wall artists for the month of April are Shannon Novak (New Zealand), Jean-Michelle Rolland (France), and Will Hurt (UK).

One Way In / One Way Out – Jean-Michelle Rolland (Marseille, France)
A generative animation built with Processing. 20 wormlike colored shapes draw a strange geometric network as the rebound endlessly inside the borders of the Media Wall .

Jean-Michel Rolland is a French digital artist born in 1972. He produces experimental videos, generative animations, audiovisual performances, interactive installations and VJ sets.

Myers Playground – Shannon Novak (Auckland, New Zealand)
In 1913 Arthur Thomas Myers bought the land between Greys Avenue and Queen Street and gifted this to Auckland city, New Zealand, land he developed into an inner-city park with a free kindergarten and playground. The park was named “Myers Park” in his honour. Myers transformed the neglected land into a space that supported the safety, development, and dreams of many young children. The animated work, Myers Playground, explores this playground as an incubator of ambition, imagination, and confidence, each musical note and accompanying geometric form a synesthetic rendition of a childhood memory.

Shannon Novak is an artist based in Auckland, New Zealand. He works in painting, sculpture, and installation, with a focus on using geometric forms to explore his deep and abiding interest in the interrelationships between sound, colour, form, time, space, and social context. http://www.shannonnovak.com

Field #2 – Will Hurt (Norwich, Norfolk, UK)
One of a series. A single, simple, geometric shape, hanging in and repeated across space. At irregular intervals, in unison, each shape gracefully rotates to a new randomised orientation. Deliberate pacing foregrounds both the act of looking, and our experience of time passing, inviting us to explore a fluctuating digital space.

Will Hurt – Artist Statement
I use computers to create abstract digital spaces containing digital objects ranging from single, minimal, geometric forms to complex masses of thousands of objects. My work is resolved as generative animations, interactive apps and digital prints.

I make work to explore the nature of and relationship between digital space, digital objects and time. How does an objects sit in digital space? How does an object navigate digital space? How do multiple objects interact in digital space? Can you fill a digital space? How does a digital object differ from a physical object? How can a digital object change over time yet still be recognised as the same object?

Computers, programming and 3d graphics are central to my practice, I create work in realtime graphics engines and often show the work running in the engine rather than a recording of it. This allows me to create work that has indefinite run times and never repeats exactly, both qualities specific to the medium. As it’s not always possible to show the work live I do make screening versions for festivals, tending to create a different take for each event.

March Artists- Leslie Supnet, Lauren Cook, David Fodel, Jin Kyu Ahn

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The UMW Media Wall artists for the month of March are Leslie Supnet, Lauren Cook, David Fodel, and Jin Kyu Ahn.

PXXXL – Lauren Cook
Using century old technology, PXXXL creates digital glitch from analogue process. It was animated directly on the celluloid without a camera, in a darkroom, using lights, objects, and handmade lenses.

Nimitta – David Fodel
A realtime animation work that mainfests according to a predetermined set of relationships between sonic and computational processes, but which unfolds differently each time it is performed. This video is one such performance. A set of rules, and an emergent “sign”, struggling it seems to come into its own, to become a form, simultaneously pulling, stretching, expanding, in-forming. Geometric operators create the visual ouput in real time as they viewer imagines the “soundtrack” that generated it.

Second Sun – Leslie Supnet
The rising sound of drums emphasizes flashes of lights, images of the solar system and a post-apocalyptic imagining of the birth of our Second Sun.

Flipping -Jin Kyu Ahn
FLIPPING is an automatic animation (action animating) created by applying ‘flipping’, a traditional hand-drawn animation technique. The spectrum of a soundless collision between cuts created by a collision of two different physical properties again collides with the sound made by playing two improvised scores folded after burnt. This work has a structure with the complex relationship that two planes are oppositely located in the light and dark space, two materials exist between the two planes, and two sounds permeate between the two materials. And it stays between the life(time) and sensibility of the artist himself.

 

February Artists- Sandra Gibson and Luis Recoder

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The UMW Media Wall artists for the month of February are Sandra Gibson and Luis Recoder.

In our installation work, we use projected light to articulate space and time. Film projectors and celluloid are the material base of our constructions in light and shadow, the elemental properties of cinema. These things are deeply imbued with a history of viewership in the dark of the theater. To remove it from darkness is to flood this history and cast a certain illumination upon it. A certain exposure. Light spills in the shifting of film from its native darkness in enclosed chambers (camera obscura) to the uncanny openness and defamiliarized illumination of installation. We are exploring the shift, elaborating the displacement, recasting the light mechanics of a peculiar estrangement of the medium. The art of cinema, yes. But more timely: the becoming cinema of art. That is the coming attraction for us. (Gibson + Recoder)

Dark Chamber Disclosure

Gibson / Recoder in their live projection work  Dark Chamber Disclosure, showcase an inversion of supreme materiality. Gibson and Recoder seem to get rid of film material all together, casting on the cinema’s walls the shimmering colored lights of pre-camera/projector early cinema or the shadowplay of Plato’s cave. The light work resembles unfurling smoke and lapping waterfalls in a fluid, satiny effect that in no way seems filmic: no frame rate, no grain, no scratches or reels, and certainly no representation. Nothing seems like film. And yet the work is entirely based in projection and films, with two 35mm projectors used and two films, one of clear leader and one of an actual film projected upside down and out of focus and refracted through crystals, lenses and gels and further manipulated with their hands. So much cinema and yet totally suggestive of something beyond cinema (beyond meaning both before and after), and while nominally narrativized and timed to a recorded musical piece of field recordings, the work’s unrestrained movements (expanding beyond even the cinema screen into the theater space itself) seem to suppress the 20th century’s finite cinematic technology to evoke an ephemeral play of light unbounded by beginnings and ends. Because all the possibilities in the world seem at the hands of these filmmakers and they no longer need to seek the infinite, it is no longer the focus of their works, but rather the attitude of a working method, where what was once the end (if unending) for a story to pursue has now become the means with which to pursue other stories. (Daniel Kasman, MUBI)

Stations of Light

 A project for DCP (Digital Cinema Package) projection and file distribution, “Stations of Light” was made in response to the limitations of current theatrical standardization of digital cinema. The full title “Stations of Light: Installation for Two Movie Theaters, One Audience, and Musician” premiered at the International Kurzfilmtage Oberhausen in 2014. For this commissioned work, the artists extended the collaborative nature of their project by inviting their festival host Mika Taanila to select the films to be reworked live via a special refracting apparatus placed directly in the path of the projected lights of two adjacent screening rooms. Instructions to the curator as follows: Selection of two feature-length films of near identical duration; selection based on further consideration of the festival’s thematic program Film Without Film with film; do not reveal the source material either to the artists or public. The films soundtracks were replaced by an original composition by Douglas J. Cuomo and performed by cellist Dirk Wietheger who doubled as the audience’s escort between screening rooms. The expanded cinema potential the artists pried open in the era of DCP facilitated, according to Erika Balsom’s Artforumreview of the event, an interrogation of “what philosopher Nelson Goodman called the allographic nature of cinema: it is a two-stage art that requires a performative enactment in order to be realized, something that necessarily opens the work to difference, fluctuation, and modification even as it remains itself.”

December Artists

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The UMW Media Wall artists for the month of December are Eliane Lima, Rui Hu, Eden Mitsenmacher, Aaron Bowles, Shelley Jordon, and S/N.

Eliane Lima is a Brazilian emerging artist. She immigrated to the U.S. in 1999, and received a BA in Cinema from Binghamton University, State University of New York and a Master of Fine Arts in Film from San Francisco Art Institute. Currently, she is working on her second Master’s degree at the California Institute of The Arts. Lima’s work has been shown at Liverpool Biennial, SFMOMA, Anthology Film Archives, Pacific Film Archives, Brazil, Cuba, Canada, and elsewhere. She was awarded the SF Weekly Mastermind 2012 prize and featured an installation in homage to George Kuchar at the SF Art Pad 2012.

Eden Mitsenmacher – Born 1987 in the USA; works in London and Tel Aviv. Combines performance, video and installation to take a critical yet engaging view of social, political and cultural issues. Holds a BFA from Goldsmiths College University of London and an MFA from the Dutch Art Institute. Her work has been exhibited in spaces such as Istanbul Biennial, the Van Abbe Museum in the Netherlands, Holon Design Museum, Liverpool Biennial, Arebyte Gallery London and ACRE TV.

Aaron Bowles’ artistic practice is one that moves between mediums, incorporating elements from all disciplines of art-making, such as painting and video, or architecture and performance.  He has exhibited at numerous venues across the U.S. including Columbia University’s M.W. Offit Gallery in New York, NY, Parrish Art Museum in Watermill, NY, Rogue Video and Performance in Brooklyn, NY, and the Hirshhorn Museum and Sculpture Garden in Washington, D.C.

Shelley Jordon is a Portland, Oregon-based painter and moving-image artist who explores interior and exterior worlds and connections between past and present experiences. Using traditional drawing and painting media applied to two dimensional artwork, animation and installation, she expresses the complex nature of memory; physical and emotional, collective and personal.  Daily life, relationships and every day objects are investigated and informed by perceptions of previous experiences that reveal emotional and psychological resonance and reflect the passage of time. She has had over fifty solo exhibitions, including the Wexner Center for the Arts, Columbus, OH, the Whitebox Gallery Portland, OR and the Frye Museum, in Seattle, WA. Her work has been exhibited at t the Portland Art Museum, the Tacoma Art Museum, the Portland Museum of Art and at international venues in Italy, Israel, Great Britain, and Germany. Her projects have been supported by the Ford Family Foundation, artist residencies at the American Academy in Rome, Lucas Artist Residency at Montalvo, the Regional Arts and Culture Council, a Visual Arts Fellowship for the American Academy in Jerusalem two Oregon Arts Commission Individual Fellowship Awards and a Fulbright-Hayes Group Travel Research Grant.  Jordon holds an MFA from Brooklyn College and a BFA from The School of Visual Arts in NYC, and is a Professor of Art at Oregon State University.

S/N is a transdisciplinary art group, which works extensively with, but not limited to, video, sound, animation, photography and mobile media. The exhibitions often include performative elements and mediated footage, pushing both experimental and conceptual ideas around media.

S/N members include Jennida Chase and Hassan Pitts who crossed paths in 2007 while attending graduate school at Virginia Commonwealth University. The similar interest in documenting elements of their community resulted in working within similar environments and, thus a natural friendship and collaborative working relationship formed. They have been creating collaborative work since 2008.  Their works have been exhibited and screened in North America, Europe and Asia in various festivals, galleries and museums including Hong Kong Art Fair, Pekin Fine Arts, DAS Weekend and the Freies Museum in Berlin.

November Artists – Casilda Sánchez and Simon Tarr

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The UMW Media Wall artists for the month of November are Casilda Sánchez and Simon Tarr.

Born in Madrid, Spain, Casilda Sánchez holds a Masters Degree in Film, Video and New Media by the School of the Art Institute of Chicago. She lives and works in Brooklyn. Her work has been shown in museums, art centers and galleries such as La Panera (Spain), Ground Floor Biennial at Hyde Park Art Center (Chicago), Aspect Ratio Gallery (Chicago), Videonale13 at Kunstmuseum Bonn, or Frac Corse among others.

Simon Tarr is an artist, researcher, and educator in South Carolina. In addition to his films that have been screened in hundreds of film festivals on every continent (yes, even Antarctica), he creates live video shows and immersive environments that he has performed at Carnegie Hall, LaMaMa and around the world from Tokyo to Cairo. His work is available on DVD from Netflix and Amazon. Tarr is an associate professor of art at the University of South Carolina where he is the coordinator of the Media Arts degree program in the School of Visual Art and Design. He received the 2010 University Film and Video Association Teaching Award for achievements in pedagogy that contribute to the field of film and video education.
http://quarknova.com

Simon Tarr

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The Long Way Down
(8m45s loop/silent/BW/single-channel)
A ghostly image of woman climbs endlessly to—somewhere. The loop evolves mathematically as more and more of her ascends and ascends.

Stop. Wait. Wait. Observe. Absorb. Partake. This is the simple, but attention-demanding process that underlies my practice. I explore video as a way of expanding space through time, transforming movement into choreography and gesture into narrative. Through the use of large-scale projections I examine the territories of absorption and desire as forces to transcend what is in front of us, incorporating looking as my main tool and vehicle to achieve intimacy with the portrayed subject. Through sustained and detailed close-ups, what would have normally been overlooked becomes visible, unlocking a fleeting moment into a vast space of micro narratives. Within this new immersive environment, everyday experience is reduced to a minimum, serving to highlight the moment when human becomes animal and natural elements a breathing being.

Casilda Sánchez

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High Tide
HD video, 19’27”, loop, 2013

High Tide is a close-up view of a gypsum-based material soaking water, cracking and transforming from powder to liquid state. It is the pre-process of the material changing from a mineral to a liquid with the necessary consistency to be able to function as modeling material for a new body.

The close and quiet view of such material and its changes becomes the view of an abstract landscape that has lost a reference to scale, becoming either a micro space, or the sight of a wide geological formation crumbling.

 

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Y el mar se negó a ser tierra (and the sea refused to be land)
8 channel video and audio installation, dimensions variable, 2014

 

Christine Lucy Latimer

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Fraction Refrain (for Loeser, Evans and Snow)

An auto-mechanized directive for mapping a microcosmic landscape.
Using cut-glass filters on a broken VHS camera, I traverse the terrain of a vintage pinball machine using mechanical movements reminiscent of Michael Snow’s La Region Centrale. (Dedicated to Mark Loeser, Justin Evans and Michael Snow).

A special commission for Graphical Recordings, with selected moving-image artists responding to POEM (1957) by Michael Snow (full text provided below)

POEM, 1957
It stayed
Where I saw it
Then it moved a fraction
To the left and then twice that
Distance again further and further

It
disappeared
Then just faintly
A corner of it just a fraction
Was visible if you peered
Very very closely
And just as
quietly
it was
gone

– Michael Snow

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Still Feeling Blue About Colour Separation

This film rephotographs over 200 internet-sourced images of ‘Macbeth ColorChecker’ cards on to super-8mm cyanotype emulsion. Macbeth Cards (precision tools in colour film processing), were a popular accessory for small-gauge Kodachrome filmmakers in the 1970’s. They have since been re-adopted by contemporary digital photographers, who use them to compare lighting scenarios on internet blogs and forums.

Tracing the history of the colour calibration card through many lenses, I effectively remove all colours, save one.