by Alessandro Amaducci
My work deals with the concerns of space travel and wandering through the landscapes of exoplanets to inspire awe and wonder in my viewers. "The Fragmented Earth" is another way of looking at a landscape and thinking about how humans have contact with other worlds through a machine--a device that alters our perceptions and methods of observation. A machine prioritizes different information and can see things in various spectrums and attitudes of which the human body is incapable, which is the case of the wandering camera as it takes an underworld view of the landscape in "The Fragmented Earth." I hope this video piece will allow the viewer to consider the small wonders captured by various space probes and machines with a newfound reverence, and appreciate the wonders waiting for us in our solar system.
Over centuries, mariners returned to the Mediterranean with seeds and plantlings. In The Mediterranean Botanicals Collection: Bay of Kotor, I examine how the pursuit of empires, trade, legacy, medicine, religion, and aesthetics forged the coastal landscape of the UNESCO protected site. Crimson Bottlebrush originated near Botany Bay in southeastern Australia, where seasonal change affects the ecosystem like Kotor. The ancient walled city of Kotor sits at the innermost point of the bay, shaded by two steep and rugged mountains that create a biosphere for extreme weather. The city recommends planting the naturalized shrub because it thrives in the hot summers and fends off frost in the winter while producing its own natural herbicide.
by Joelle McTigue
Origin Australia. Photograph Bay of Kotor, Montenegro, 2021
The artist depicts a revolt by the spirit of a mother and a child whale in this one-minute piece, in which all the crabs, crows, and fishes in the area take part. This project was triggered when two whale carcasses washed up on the shores of Cox's Bazar in March & April 2021. Afroza, aware of both their good and destructive abilities as well as their graceful demeanor, imagined them rising up as spirits, angry and hurt, revolting against us for not allowing them to live anymore.
by Afroza Hossain
Lifeline is an abstract visualization of the flow of water – our planet’s circulatory system. In this piece, each line of video is a digital sample extracted from footage of various bodies of water collected across the country. Similar, in a way, to a doctor drawing blood or a scientist collecting a water specimen to test the health of a lake. In the resulting work, the layered audio of a heartbeat monitor draws parallels to the human body as lines move across the composition like veins or air passages.
by Krista Leigh Steinke & Sherman Finch
Penguin, Panther and Pengzilla embark on a journey to discover who they truly are.
The Penguin is our higher self (who we aspire to be), the Panther is our default self (as we exist in the world), and Pengzilla is our shadow self (what holds us back). These various selves are present in all of humanity, while the journey in the film is symbolic of the adventure we embark on in life towards discovering the truth about who we are, and an integration of our various selves.
by MaryAnn Loo
Sweet Escape is a representation of internal joy. The colors showcase the layers of identity we each have. The moving flowers showcase the lesson of being open to change.
by Dara Breeze
This video is part of an ongoing experimental performance work exploring site specific biological relationships through puppetry, mimicry and time.
by Patrick Moser
Sometimes life feels like a dream! This video is an ode to autumn and all of the weird feelings and nostalgia that it brings up. Late night concerts at cozy venues, leftovers from a half-forgotten halloween party, the heavy skies and changing trees, and playtime with friends. A few silly little memories all patched together as a window into a past life.
by Maddie Weinman
Peri-Bloom depicts a vast, otherworldly landscape dotted with remnants of architecture and stands of dead trees. The environment undergoes a cycle of rebirth spurred by a visit from strange, crystalline bodies. The experience investigates themes of environmentalism and humankind’s future within a mysterious, yet serene world. Simultaneously hopeful and cautionary, Peri-Bloom tells the story of a landscape attempting to heal. Peri-Bloom was created by Kevin Mercer and Sarah Swist in 2022 using 3D models, digital paintings, c# scripting, and Unity3D.
by Kevin Mercer & Sarah Swist
Collaborative sound piece with composer Daniel Townsend. Media: Stereo microscopy images of preserved sphagnum moss plant from conserved peatland, field recordings from Latvasuo & Pikkusaarisuo peatland extraction sites, hyperspectral imaging of soil core samples read as graphic music notation. Re:Peat is a recent EDUFI Fulbright Finland Fellowship research project focusing on peatland extraction and restoration in Finland. Our hyperspectral images were made with a Specim FX-17 camera using wavelengths of 900 – 1700 nanometers. These images allow us to see details in soil structure invisible to the naked eye. We hear two sonified core samples, the unrestored sample panned left and restored panned right, moving low to high. Ash, an industrial byproduct from burning peat for power and heat at Toppila station in Oulu, has been used to treat the soil, de-acidifying it and perhaps leading to a viable novel ecosystem for reindeer forage. (c) 2022
by Anne Yoncha
Upside-Down is a series of five photovideographic artworks that follow a similar basic rule: the photographs used are the right way around at the start of the video and end upside down.
But the important thing is what happens between these two moments: the colors migrate from top to bottom and bottom to top at different speeds, leaving trails in their path.
Those at the bottom meet those at the top towards the middle of the screen and their hugs constitute the climax of the work (which lasts about thirty seconds in the middle of the videos).
Upside-Down I uses a photo I took in Fez (Morocco), it's an accumulation of Tajine dishes in a market place.
by Jean-Michel Rolland
In my childhood memory, I always sit in front of my window which is surrounded by the iron bars cage, although it looked beautiful, and I watched the city scenery through the cage window. It seemed like I was confined to an iron cage and imagined another scenery in my mind. Sometimes I dream of a holy mountain in front of me which is made of concrete jungle buildings. The limitation for me is just like social expectation and judgement which made me limited. And windows are a transition between the real and mental space. It brings me to another space, it can be the past, now and the future, somewhere I dream of.
by Ai-Chun Huang
Black Continuum is catalyzed by the voice of Jamaican-born, British-based dub poet and activist, Linton Kwesi Johnson and encodes a hybrid use of still photography, found footage, and personal narrative. The film responds to the poem Southern Gothic by Rickey Laurentiis - the liminal rooms his poems worship, dream, and dance within and the weightless atmosphere they create: an infinite Black continuum
by Logan Dandridge
St Celfer busking in São Paulo, performed at Marcus Leoni's studio. Nduduzo Siba, originally from South Africa, an expert in the traditions of Zulu dance, a resident of Brasil, joined them.
By St Celfer (john parker), Nduduzo Siba, Marcus Leoni, & Renata Willig Place
The collaborative multimedia performance, Blood Meal, illustrates the lifecycle of an organism by bringing the grotesqueries of organic development into focus. As a cluster of organisms slowly coagulate into an amorphous whole, the projection and audio swell to reveal a life form within the light of the circular projection. A series of articulate and pointed movements conjure a recognizable creature, emerging from the fabric womb. Punctuated by percussive events of trauma and growth, the performance escalates into a crescendo of vitality. The apex of the life form is short-lived, with its primary function complete. The creature fades into the seasonal tide without fanfare. A brief period of mourning holds space for the loss that occurred. The performance concludes on a breath, an omen for future cycles. The body consumes itself to multiply, achieving immortality paradoxically within its demise.
by Katina Bitsicas & Rachel Strickland
A trigger that inspired this minute, and a kind of opposite situation of inactivity and silence, was my accidental visit to a train station named "Factory" situated in my hometown in Banat, Serbia during the pandemic and restrictions on movement in spring 2020.
The station is bleak and empty for decades, where trains are quite rare and on that spot, nothing has changed.
by Nenad Nedeljkov
This film was made during baby's nap times. It's about being very tired as a new mom yet not being able to fall asleep! An attempt to follow a breathing exercise which turns into a nightmare.
by Neely Goniodsky
"The Light of Things", focuses on the concept of strength through diversity. When humans are separated from one another and nature, it is easy to become like a 'puppet' simply going through the motions of life. But when a community comes together with common intention, they can enact dramatic positive change.
Johanna Porter & Max Hess
Reality is gone. Only shivers of reality survive. Worst then modern times, e.g. collages of DADA artists. Shivers are so many times broken that they cannot be put together again in order to re-construct reality or an adequate image of reality.
That means, reality is lost, out of reach forever. Mental landscapes and theoretical assumption, ideologies take over uncontrolled forever.
Clockwork Toy’ footage is based on footage shot on the occasion of 2020´s Mardi Gras parade in Southern Germany. The Mardi Gras parade was held one week before the outbreak of COVID-19 in Southern Germany and Alsace, France. The footage has been altered to nearly abstract pattern. These patterns are oscillating between recognizable part [a mask, a part of a costume] and really abstract pattern, maybe similar to a kaleidoscope.
By Joas Nebe
Uncanny Bodies draws on the artistry of scientific documentarians like Robert Hooke and F. Percy Smith, who revealed the wonders of microscopic structures and beings through emerging lens-based technology. By shrinking time via stop motion animation, I discover the complex relationships between individual grains of sand and their intimate environments, offering the possibility of significance to the diminutive. Like the early explorers into micrographia, we can no longer see the world in quite the same way, having, if only for a few moments, condensed ourselves to the size of a grain of sand.
By Corrie Francis Parks
Sound by Jason Charney
"Breathing" is a collaborative video—featuring music by Maria Finkelmeier and Tim Hall, with visuals by glitch artist Allison Tanenhaus—that promotes breathing, reflection, and relaxation. The piece debuted at "Project Daydream," a livestreamed event at Boston’s iconic Cyclorama, made possible through the Celebrity Series of Boston Neighborhood Arts program, Kadence Arts, and a grant from the Mayor’s Office of Arts and Culture and the City of Boston.
by Allison Tanenhaus, Maria Finklemeier and Tim Hall
Geomelodies shows, in an emblematic and indefinite space, geometric forms in primary and then gradually psychedelic colors following one another in constructive swirls and unexpected mixes, driven by a sonic and aesthetic energy that shapes them. The forms are generated, multiplied, aggregated, scattered, transmuted, evoking the tragicomic tangle of life, alternating pre-established models with experimentation of possible multiples before dissolving into an absolute whiteness.
by Andrea Leoni
Phillip Mudd is a multi-media artist, with a particular focus of photography from Benton City Washington. Phil’s current artistic practice is rooted in the exploration of the everyday in communities and systems that help influence individuals and a culture. Predominantly project based, Phillip attempts to survey social frameworks, people, and current events constructing works that range from social documentary to cultural critique, to questioning contemporary photographic, artistic trends and tropes.
by Phillip Mudd
Michael Wyshock is a multimedia contemporary artist. His current research interests concern the spatial implications of multi-dimensional color and phenomenological systems. Wyshock uses fractal studies--found in painting, sound, and video--for the investigation of patterns that produce predictable saccades. The concern is with the visual engagement of the viewer with issues of depth and oscillation. The works are designed and amplified for chronostatic effects that explore the psychology of time. The artist’s creative involvements include a range of collaborative studio and public projects with other artists and practitioners--musicians, poets, and scientists.
by Michael Wyshock
I created this video using an AI machine learning script that generates imagery from descriptive text. I used the lyrics from the song I wrote as the input for the AI animation. The process takes time because it takes awhile to generate a short 10 second animation and then 90 percent of what comes out is unusable. Artificial Intelligence is not that intelligent. But, I thought the process fit well with the song, which is about bringing someone back from the dead and they are mostly normal but also just a little off. Similarly an AI attempts to do human things like animate people and it’s pretty good but also just a little off.
by Kent Watson
This cameraless work was generated by performing the analog Sandin IP video synthesizer in real time, produced during an artists residency at Institute for Electronic Arts in Alfred, NY in 2021. It is part of larger body of video art works which include single and multiple channel installation set ups.
by Gibson + Recoder
Home to my paternal great grandparents, Al-Manshiyya was a Palestinian neighbourhood that was once situated in the North of Jaffa. It faced a perpetual mass destruction under a brutal Zionist colonial occupation, between 1948 and the present day. To confront the erasures of Al-Manshiyya’s infrastructure, land, and culture, the following short film aims to virtually reconstruct the most relevant cultural and socio-spatial aspects of this now-absent neighbourhood.
In doing so, this audio-visual experience aims to address my hometown's destruction from the regional to the material scale, by enabling its audience to experience the neighbourhood’s vernacular past and real-estatised present through contemporary modes of visualisation.
by Zain Al-Sharaf Wahbeh
If the spots are full, there is free parking along Elliott or a garage at the Sculpture Park that's a 5-minute walk from our entrance.