The first digital video fine art coffee table. A hit at SCOPE: Miami Beach in December 2013, the piece features my digital video work: Bora Bora: Palm Fronds. Based on original footage shot in Bora Bora, the regular leaf structure of palms trees and strong island lighting help create endless geometric investigation of the green palette. (Other videos can also be shown.)
The table is a custom-made hard-wood fully functional piece of furniture. Topio (from the Greek word for landscape) takes my “modern landscapes” art work off the wall and out of “TV mode” to become the center of a room and integrate with its environment. The embedded screen is a custom-made professional signage design with commercial screen that can run flat and run 24/7. No remote controls needed. Dimming knob under table.
explore how a graffiti mural changes over time as existing images are painted over by new artists.
My aim for this project was to create an interface that works as an intuitive metaphor - pushing forward moves the user forward in time by displaying more recent images.
The artwork I used is from a graffiti mural in Central Square, Cambridge MA. The mural is frequently repainted, and by photographing the mural weekly I was able to capture the mural as it changed over time. Sometimes the changes were gradual evolutions; at other times the mural changed suddenly when large sections were completely painted over.
Everything is Made of Atoms is an interactive new media installation that explores the entangled and ever-changing relationship between the body and technology. It draws on previous works created by artists such as Simon Penny's Traces (1999). The piece draws parallels between participants and their digitally-mediated images, expressing both as a whole and at the same time as a flow of constituent parts, the lifetimes of which, as philosopher Karen Barad (2003) argues, is not an attribute but the ongoing reconfigurings of the world.
Everything is Made of Atoms has two major software components: methods to access the stream of image, depth, and skeleton data from the Microsoft Kinect sensor, and routines to perform a high-performance computation of three-dimensional vortex dynamics. These methods are connected by an extensible framework of the artists own design.
Swarm is an interactive, real-time artwork that puts the viewer in an ever-changing autumn forest full of falling leaves. Normally, leaves will simply wobble slightly as they fall and cover the ground. When a viewer comes close to the screen, or passes by quickly, a whirlwind will pick up and swirl the leaves in complex, never-repeated patterns. The dense texture of motion and shape can be calming or torrential. In addition to the constantly-changing wind and turbulence, the piece exhibits a day/night cycle, subtle longer-term changes in the leaf colors, and other details.
The piece is physically composed of a flatscreen monitor for display, and a small desktop computer to run the simulation. To compute the motions of the thousands of leaves, a creative and lesser-known fluid dynamics algorithm is applied to the particles. Both the rendering and this special computation are performed on the GPU. The title, "Swarm," refers to the fact that the essential algorithm used for the wind flow is a relative of the swarming algorithms that were among the first to provide evidence in support of self-organization in complex systems. Viewing Swarm, you could be forgiven for thinking that the leaves had a global plan.
Untitled (computational composition) is a work of digital video, computed and rendered in real-time on a desktop computer, and displayed on a wall-mounted high-resolution flatscreen. The images are of thousands of very simple blurred objects flowing or floating across the screen, sometimes moving in unison with their neighbors, and sometimes not. As they move, collective structures repeatedly form and are swept away. Underlying parameters change slowly and subtly, leaving the piece with a different character each time it is approached.
Dislocation of vision has become a prevalent attribute of observation. Webcams, live network feeds, and cameras on mobile phones make it possible to see many locations simultaneously. Maps with street view enable virtual travel. Social networks keep friends continuously connected regardless of place. Personal vision is no longer restricted to ones immediate surroundings.
Our two eyes have become many eyes that are able to visually travel along paths through space and time. Our close personal affects can comfortably exist in many disparate sites. As this continues, physical location loses its importance altogether and becomes no more than a trivial afterthought.
The Toilet Bowl Aquarium is a site-specific installation conceived specifically for the Axiom bathroom. The existing toilet seat in the bathroom is replaced with a modified toilet seat and lid containing a window that shows, encapsulated in a toilet bowl, fish swimming in a natural environment similar to those often affected by sewage outflows.
Patrons are able to interact with the installation by opening and closing it, sitting on it, and by using the toilet normally.
Observatory is the thought-record of the observer, viewed from the location of perception inside of the body. From this vantage point, this observer is able to witness the act of observation, while maintaining awareness of the filters of perception. But perhaps this vantage point is not fixed, and it can experience self-awareness somewhere else, even outside of the body, or in other observers.
Underneath the Skin challenges our personal suppositions of soul and what remains after the body is gone. Without a body, we are neither male, female, short, tall, pretty, frail, hungry, tired, cold, amorous athletic, nor forgetful. As the body may be thought of as a temporary skin that houses the soul, then what is the nature of what lies underneath the skin? The multiplicity of meanings of the term "skin" and its psychological components are mirrored in de-familiarized skin imagery and abbreviated digitization. Forming meaning from the fast-moving text is similar to the activity that one engages in while trying to determine the nature of oneself by decoding and arranging the clues and events that occur over the time span of experience.
'Medium Grind' explores the feedback loop that exists between the news media and events that are reported and represented. As it is impossible to observe something without changing it, the phenomenon of instant news and live coverage further complicates this cycle as it creates new representations of events before they have finished occurring. The news media itself is a powerful influencing factor on the very events that it reports upon. The media spin gets magnified over and over again, feeding back upon itself, making it impossible to determine what caused an event to happen in the first place. Yet real events, real bullets, and real lives forever get reduced to source material for a brilliant media spectacle.