I contributed film photography for marketing, as well as conceiving and conducting live video mixing, layering, and switching, utilizing our array of 14 camcorders, Marshall stage cameras, and other found video devices. There was comedic timing involved, precise movement and camera placement, as well as a jazzy sort of approach as we would hand cues off to each other to complete the poetic, strange bits and performances.
The visual language was the product of months of preparation with Dean, our fearless ringleader, and our performers and musicians. We developed a distinct visual style, studying multitudes of cameras and moods that might fit our large array, unique space, and abstract concepts.
I developed video concepts for 14 (out of our total 16) distinct pieces, sometimes providing texture, sometimes the center of attention. I used two Roland V8HD Mixers in tandem, routed out through MadMapper and into a 3-projector array that allowed me to map our visuals onto the walls of the venue.
Special thanks to Arts Mission Oak Cliff for the historic church in which we goofed.
New Media Contemporary
Monolith is a site-specific video sculpture that I developed during the last semester of my undergrad program.
The work was an exploration of abstract video textures and live camera feedback techniques, set to an active ambient soundscape that lulled, and chirped, and rumbled the casing of the televisions, yet never repeated itself.
Due to the slapdash, consumer-grade nature of the technology and furniture, the work is intended to be constructed according to available space. Special attention is given to the cabling, sometimes excessively long for its short runs.
This was the third iteration of Monolith-- the first being a rogue showcase in the hallways of my school, the second being a solo exhibition that ran for about a month in our student gallery.