This series of portraits start with photographs that are processed into layers and laser cut. Several variations of each processed photograph are cut into paper and hand dyed felt. The variations experiment with how the inclusion and exclusion of varying layers of detail, different color palettes, and abstract shapes affects our perception of the human face.
Variations on “Grandmother”
Variations on “Self Portrait”
Variations on “Roommate”
A large tent of sheets is filled with playful paper sculptures, toys, pillows and blankets. A masked guide in white leads the viewer through the space silently, giving them prompts while playing with the toys.
“Tell me about…
a time when you were 6 years old
a childhood game with siblings
a scar on your body from childhood”
“Tell me about…
a time you were terrified as a child”
“Tell me about…
a fear you’ve been ignoring
a secret that no one knows
After answering all of the questions the viewer can ask the guide one question. Then the viewer has a moment alone to reflect, play, and gather their thoughts before entering back into the world.
The installation involves video, sculpture, and audio in three rooms of a basement. Each room represents a different part of the central nervous system during the moment of a panic attack.
Before entering the space, you receive an informational pamphlet explaining Panic Disorder and Panic Attacks. These serve both as a trigger warning and as context for the piece.
When you walk into the dimly lit and unkempt basement, there is a low, muted rumble that fills the space. It sounds similar to water or like blood rushing through veins. The sound bounces off the old cement and brick walls making it difficult to locate and mildly disorienting. Arrows on the floor lead you to the first room, a small closet underneath a stairwell where you see a short (approx. 1 min.) video loop of myself dirty and frantically running in place in front of a white wall.
The second room has a black chest in the far corner. Paper hangs in the air filling the large room and is distributed to look as if it has exploded from the chest in the corner. The paper is thick and surrounds you as you walk through the room. It looks burnt and is covered with frantic sketches of bodies, some bloodied, black and red smudges, words written quickly and almost indecipherable, and other similar things. Another corner of this room is barricaded by old wooden furniture creating a small “safe” space in the corner. Spread throughout the room are seven small speakers playing audio of high pitched, disorienting sine tones and occasional soft, unintelligible, distressed voice. The speakers are placed so that the high sine waves bounce around the room and the sound changes around you as you move through the space.
Last, you walk through a large, dark room towards a glowing heart that is in a dirt-floored closet at the far side. The heart sculpture hangs in the air and is about a foot in diameter. The rumbling that has filled the space expands into the mid-register and fluctuating tones become more distinct, ever changing and yet together a static texture. When you’re ready, arrows on the floor lead back through the maze of basement to a separate exit and back up into the world.
This piece was done in the Spring of 2015 in collaboration with dancers Julia Sheppard and Hayley Larson, musician Christy Rose, and Creative Director (performing in this video) Elise Moltz. It plays with the juxtaposition of constraint, entrapment, entanglement, and pain verses support, structure, and dependence. What does it mean to be painfully trapped by something that also frees your body by supporting it on every inch?
Bodies is a very personal piece for me. It’s hard to say exactly what inspired it, but it is very near to my heart.
This is a piece which I plan to continue modifying. The projections and audio will be reworked, the performance slightly changed, and the projection screen filled in more.
Composition, audio editing, video projections – Elise Moltz
Cello- Nathan Klein
Dance and choreography- Ellen Askonas
This is the first performance of a piece that I hope to continue working on with my wonderful collaborators. I think that the nature of a piece like this (long, virtuosic for both performers, and one of my first experiments with the combination of so many media) calls for more time to let the performers settle comfortably into their roles, all technical issues to be worked out (many of the video cues are off for various technical and logistic reasons in this performance), and solidify the relation between the dance and the projections. This piece was written in 3 months and rehearsed in 2 months while the three of us also ran between classes, rehearsal, meetings, etc… I’m excited to see what it will turn into as we spend more time on it in the Fall.
I’d like to invite anyone to comment openly, honestly, and critically. Criticism is the most helpful and rewarding feedback I get as an artist.
In collaboration with James Vitz-Wong and Alfie Goodrich