2017, projected video, taxidermy bucks from a thrift store, hair
A video of two women methodically grooming themselves is projected across from two taxidermy deer bucks. Over the duration of the exhibition, hair is added to the bucks until they are completely obscured. The title refers to the action and suggests the bucks are stand-ins for husbands. This video features Veronica Ludlow. The hair at her feet is her own hair that she has collected over many years.
2017, Ceramics, sound, video, motorized turntable
2017, video, monitor, telebinocular
Audience members look through the vision tester to view a video of a person holding a live pigeon to her chest. The video is split into two circular images; one toned red and one toned blue. When you look through the Telebinocular you might see a single video with natural color. If you are colorblind you see either a red or blue image. The video lasts as long as it takes for the pigeon to stop struggling and fall asleep. On one level this is a vision test and on another it tests your recognition of captivity, struggle and resignation.
Groomers is a series of videos of woman engaging in perpetual care for the deceased. Each animal was painstakingly preserved yet expunged from their previous collection.
These videos feature Donna Moore and Guen Montgomery. Costumes thrifted by Donna Moore and Guen Montgomery.
Videos have been projected in multiple installations including the Terrain Biennial and Big Ears Festival.
2017, modified bed frame, hair, feathers, stop motion animation, video
A woman continually tries to pet a hawk. The hawk becomes agitated when her hand approaches but it does not fly away. Perhaps the hawk is lured in by the false promise of the mink stole. This video features Guen Montgomery. The hawk was hit by a car on my road.
2017, my grandmother’s plate with woodcock decal and a projection of a stop motion animated dead woodcock that I was given on the same week I was given the plate
Projections of stop motion animated woodcocks perpetually taunt the decal of a woodcock on a plate into coming alive.
2016-2017, modified tube radio cabinet, surveillance cameras, electronics, projectors, video, stop motion animation
The audience is invited to press the original radio buttons to change the video that is being rear projected onto a screen below a nest. They can see one of six videos; A stop-motion animation of a wren caught in a hair nest, a live video feed of their head taken from the chandelier above, a stop-motion of a cardinal caught in a hair nest, a prerecorded video of someone standing in the space behind where the viewer is standing or various live video feed of the opposite side of the space and the people in it.
photo credit for first two images: Brytton Bjorngaard
Et sur la mer- collage, petticoat, gouache 2016
Marie Antoinette’s Syndrome- petticoat, gouache 2016
2015, object, live feed video, projection
Crown is a two-part video installation. A bird’s nest is fixed flat against the wall making it incapable of fulfilling its original protective purpose. While a viewer investigates the nest, three cameras, discreetly fitted into the chandelier above, are filming them. In another part of the gallery, the live feed video is projected from the ceiling onto the floor below. The three projections show a bird’s eye view of an audience member in a moment when they might be contemplating the fates of the onetime inhabitants of the nest. This starts a cycle of observation that can only be fulfilled when multiple audience members enter the space.
2014 - object and live feed video
This small case with the monogram L.E.G is mounted on the wall. Viewers open the case to reveal a live video of their own legs captured by a discrete surveillance camera embedded into the wall below. They are unwittingly given a private reoriented view of their legs.
image credit: Shelly O'Barr
2014- objects and video projection
Two foot boards are suspended on the wall. From afar viewers can see a blue glow coming from the bed. Each contains a projection of a single pair of feet on the opposite side of the bed from each other. If combined they might be lying together. The viewer either must lean over the bed or use the hand mirror to see the video. Their bodies obstruct the projection, casting their shadows in the bed thereby both filling and voiding the image simultaneously.
Semblance I- object, live feed video, 2014
An audience member approaches the medicine cabinet and sink and sees whatever is on the other side of the wall. A video camera is capturing the public space to be viewed in place of a reflection in a private space.
Semblance II - object, live feed video, 2015
An audience member approaches the medicine cabinet and sink and sees whatever was in front of the mirror five minutes prior. A discrete video camera is capturing and delaying the display. This delay allows the viewer to see one of three things: the empty space, someone else or a past version of themselves.
2013- dirt, clay wood, audio equipment, Pure Data
This was an experience offered to anyone wanting reenact moments of regret with a five-foot opossum in a state of apparent death. People could either go alone or with someone into this shrouded octagonal structure to speak into the ear of the opossum. The small mic fitted into the possum’s ear fed into a program that delayed the sound by five minutes. It was then played through speakers away from the possum, near the entrance of the gallery. An audience entering the gallery was only able to see the shadow and to hear the delayed voice. The audience assumed the voice belonged to the shadow but it was more likely that the voice belonged to someone standing right next to them.
2010- mixed media
Expecting Helen is comprised of five life-sized alligators created in an exterior courtyard and one life-sized alligator created inside the museum. Each alligator is fitted with two surveillance camera eyes. Footage from all twelve cameras is projected behind the alligator in the museum. The audience first encounters the exterior courtyard alligators not realizing, until they see the interior footage, that the alligators are recording and projecting their movements. While the audience is able to see themselves in the real time footage from the interior alligator, they can only imagine what was captured when they were outside and who was watching based on the current footage. Over the course of the exhibition, the alligators first grow wheatgrass then slowly start to breakdown and fall apart.
