December Artists (Alejandro Parra, Sthef Folgar, Jessica Giacobbe, Anders S. Solberg)


At Odds- Alejandro Parra (Los Angeles, CA)
At Odds is an architectural scale video installation that runs continuously with no sound. The image is an aerial view of beach waves crashing–containing qualities of isolation as well as a relentless vitality. Seducing the viewer to transcend time and the reality of landscape, the work can be interpreted as an event that straddles a past world, our current shorelines, or perhaps a fading future terrain.

Alejandro Parra is a media artist from Los Angeles whose work contemplates ideas of time, landscape, and experience to meet at a point of art and philosophy. He holds a B.A. in Visual Arts Media from UC San Diego.

Natural Paradox – Sthef Folgar (Madrid, Spain)
Although the incessant lights are a constant reminder of the formidable presence of the city, the eerie nocturnal silence allows a brief insight into the uncanny and limitless dimension of nature. I attempt to enter into those feeling of vertigo that separates the unknown from the known, and explore this union between the domesticated and the wild where emerges a new territory that refers to, but is not.

Sthef Folgar is a Uruguayan photographer and filmmaker, currently based in Madrid, Spain. Master’s degree in Contemporary Photography from EFTI International School, and recently awarded with a grant to attend a Master of Arts. She has worked as freelance on different photography projects, developed personal experimental films and collaborate with different visual art installations. In March 2016 has co-founded otrocolectivo, an interdisciplinary art collective focused on the development of visual projects.

Catalysts and Aftershocks – Jessica Giacobbe (Brooklyn, NY)
When you’re young everything feels surreal, every place is exciting, and every place contains a story.  These seemingly unscripted moments of my life are the ones that have persistently made their way to the foggy tank I call my memory.  This short is a collection of memory induced explorations of places I once knew.  My interest was not just in the memories themselves but the spacesin which they were born. The approach in these exercises were completely instinctual, tactile, honest, and improvisational (a similar process in all my work).  Through using this unbiased approach, I realized these places were no longer weighted with nostalgia.  They had suddenly been reinvented to contain potential for new and catalytic discoveries.  Catalysts and Aftershocks depicts both a fictional and non fictional representation of my re-encounters with these childhood sanctuaries as an “adult.”

The place I call home has shaped me and continues to resonate with me in the present. Growing up on a dirt road, never wearing shoes in summer, spending time with horses, and knowing nature are aspects I aesthetically utilize.  The importance of tactile experiences is something I can never stray away from.

Leucosis- Anders S. Solberg (Trondheim / Sør-Trøndelag, Norway)
Digital video work, abstract, immersive, can be viewed as fluid or liquid paintings experienced through time. Depicting the metaphorical transformation of silver into gold, enlightenment, the ascension from earthly, crude matter, into a higher, divine state.

Anders Solberg (b. 1984, Trondheim, Norway) is educated as a photographer at the Norwegian School of Photography and currently a student at the Trondheim Academy of Fine Art, NTNU.

November Artists- (Tiger Chengliang Cai, Angela Lopez, Laura E. Dickey, Viviane Silvera)


Sisyphus the Tank Pusher- Tiger Chengliang Cai (NYC/Shanghai)

Tiger Chengliang Cai is a video artist, filmmaker and photographer based in both New York City and Shanghai. He was initially trained as an art historian, but later devoting himself into fine art practice. His works include video arts, experimental films, photographs, drawings and installations. Through his artwork, Tiger focuses on topics like politics, history, city, revolution, Sci-Fi, also the boundary between dreams and reality, and more important, how individual human deals with all these challenges. His video arts and films have been frequently exhibited in museums and festivals in Asia, Europe and North America.

Cats Under The Skin – Angela Lopez (Chicago, IL)

Angela Lopez is an interdisciplinary artist based in Chicago. Her work investigates the human condition through corporeal, psychological, and animal relationships. Her work explores touch as a way to try to physically grapple with what cannot be seen or touched, such as, the murky parts of ourselves that we repress.  These explorations are a way of trying to understand the visceral, the uncanny, and the self.  Lopez has exhibited her drawings, videos and sculptures in solo exhibitions at Charlotte Street Foundation (KS) and the Howard L. Schrott Center for the Arts at Butler University (IN). In addition she has taken part of group exhibitions at art spaces across the Midwest and in South America, including the Mary & Leigh Block Museum of Art, Defibulator Gallery, and Centro de Produccion y Edicion Grafica de Buenos Aires in Argentina. She holds an MFA from Northwestern University, and a BFA from The Kansas City Art Institute. Lopez currently teaches art at Carthage College in Kenosha.

Climb- Laura E. Dickey (Spruce Head, ME)

Laura E. Dickey grew up amid conifers within the historic town of coastal Searsport Maine. She studies Art and New Media with a focus in Animation at the University of Maine at Farmington. Once she has earned her Bachelor’s degree, Laura wishes to attend Graduate School, and beyond that she hopes to find her place within the animation industry.

Laura uses her work to explore the development of meaning as it occurs through childhood, the systems and structures that manipulate that development, and the affect this development of meaning has on our perception of and interactions with the world and people around us.

See Memory – Viviane Silvera (New York, NY)

After receiving her B.S. from Tufts University in Cognitive Psychology and Political Science, Silvera went on to receive her MFA at the New York Academy of Art.

Recent exhibitions include solo exhibitions at the Edward Hopper House, the Cell Gallery and 511 Gallery and group exhibitions at Marymount California University, the Albright Knox Gallery, The Dahesh Museum, The Masur Museum and the Museo de la Cuidad – Mexico.  Her work is held in the Clinton Presidential Library & Museum, Tribeca – Flashpoint Media Academy and The Ziff-Davis Corporate Collection in Hong Kong and has been written about in the Art Daily, The Wall Street Journal, Time Out New York, Fine Art Connoisseur magazine and The New York Times. She received the Award of Excellence in Painting at the Edward Hopper House in 2013.

October Artists – Brooke White, Sarah Janssen, Enzo Cillo


Slices of Clarity- Brooke White (Oxford, MS)
“Slices of Clarity” investigates the ways that Alzheimer’s Disease alters one’s connection to memory and place. By using x-rays of skulls, combined with photographs and 8mm archival films from my personal history these images visually describe my personal interpretations of the disease. By creating confusing visual spaces coupled with holes of tangible ones, I aim to bring the viewer into an Alzheimer’s view of the world.

Brooke White is both a practicing artist and educator specializing in art photography and video art, with an M.F.A. from Cornell University and a B.F.A from Alfred University, New York State College of Ceramics. White has exhibited her photographs and videos nationally and internationally including the Hammer Museum in Los Angeles, the Bemis Center for Contemporary Arts in Omaha, NE, and was a Senior Fulbright Scholar in India. Much of her work, both photographic and video, is created while traveling in areas such as East Africa, South East Asia, South America and the deep southern United States.
White resides in Oxford, MS where she is Associate Professor of Art and Area Head of Imaging Arts in the Department of Art & Art History at the University of Mississippi.

Light Night- Enzo Cillo (Rome, Italy)
Light Night is a project that belongs to a series of works about the darkness. In previous work, the figure of the man was in mind, when making I discovered that the direct human presence had become less noticeable compared to the images that I was making. The body, continuing, in fact, has become something else. What is left in the photograph and the remains of the statues become mainly traces of that presence, shadows.

I searched through old photographs and I chose between these two images. The first is a piece of photosensitive paper without the image imprinted; it had to be, perhaps, a family photo. The second image is a picture of a group of people whom you can not see well the faces. As found documents, they are a snapshot in time, a test of existence, debris orbiting in space.
The work opens and closes in a forest. I think there is a very strong presence in this place and in the individual items. The branches and the stones are isolated fragments, icons in a dark space. In its initial phase the work investigated a place and familiar materials, advancing came to think of these elements in an increasingly internalizing.

Enzo Cillo attended the Arts high school in Benevento and continued his studies at the Academy of Fine Arts in Naples, where he graduated in Visual Arts and specialized in Photography. He currently lives and works in both Naples and Rome.

luminous flux – Sarah Janssen (Groningen, Netherlands)

The video installation luminous flux consists of macro recordings of drops of a fluid running down a surface.  Due to reduced use of light, the visuals are very minimalistic.  Sometimes the drops, flowing in a natural movement down the screen, are only visible for a fraction of a second. Luminous flux is a study of our perception of forms and  the physicality of light and its behavior in space.

Multi-media artist Sarah Janssen was born in Nordhorn, Germany in 1986 and is now based in Groningen, the Netherlands. She received her MFA in Interactive Media and Environments at Frank Mohr International Masters in Groningen in 2011. In her work she uses photography, video, installation and new media to explore our visual perception. What is the essence of an image? How do we perceive objects, space and the world around us and what are the boundaries of perception? Based on these questions, she creates concentrated pieces of work which invite the viewer to see things in a different way.

September Artists-Theo Tagholm, Carlos Rene Pacheco,Yuge Zhou


Simulacra- Theo Tagholm (London,UK)
A simulacra of nature.
“Today abstraction is no longer that of the map, the double, the mirror, or the concept. Simulation is no longer that of a territory, a referential being, or a substance. It is the generation by models of a real without origin or reality: a hyperreal. The territory no longer precedes the map , nor does it survive it. It is nevertheless the map that precedes the territory – procession of simulacra – that engenders the territory, and if one must return to the fable, today it is the territory whose shreds slowly rot across the extent of the map. It is the real, and not the map, whose vestiges persist here and there in the deserts that are no longer those of the Empire, but ours. The desert of the real itself.”
Simulacra and Simulation
By Jean Baudrillard

Green Play – Yuge Zhou (Beijing/Chicago)
Green Play is a joyful orchestration of Central Park in NYC, a great meeting place and repository shared by locals and tourists alike. The spliced footage choreographs a single summer Sunday. Green Play is part of an on-going video collage series where Yuge Zhou is searching for the spirit of different American cities.

Yuge Zhou is an artist from Beijing, China. She currently lives in Chicago, and works as a curator, creative director and contributor for the 3000-square foot media wall at 150 N Riverside Plaza, the largest new media and video art installation in Chicago (due to launch in 2017). Zhou earned her MFA from the School of the Art Institute of Chicago in 2015. She also holds a masters degree in Computer Engineering from Syracuse University.

Obstructed-Carlos Rene Pacheco (Gardner, North Dakota)
Obstructed is a series of abstractions recorded from live webcams in which various environmental factors and the camera’s own mechanisms disrupt its function as a tool that aids in global voyeurism. Live Abstraction #1, culminates in a final revelation as the world seemingly materializes from the all encompassing fog that dominates the viewers’ field of vision.

 Carlos Rene Pacheco is an artist and photographer originally from Tucson, Arizona. He received his BFA in Photography from the University of Arizona and his MFA in Photography + Integrated Media from Ohio University, in Athens, Ohio. He currently resides just outside the Fargo/Moorhead area and teaches photography at Minnesota State University Moorhead. An aspiring astronomer turned artist, Carlos Rene Pacheco’s current research is a reconciliation of his passion for science, observation, and his investigation of the photographic medium.


June/July Artist – Jeremy Rotsztain


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.

May Artists – Sarah Knoebel, Lei Han, David Bickley


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.

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.

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.”