SITE-RESPONSIVE INSTALLATIONS

between looking right (when remembering) and looking left (when creating) A response to the experience of being in my studio on the 92nd floor of Tower One of the World Trade Center. [As part of a LMCC artist residency from May, 2001 to September 11, 2001.] Using glass the same size of the windows of the WTC, video is projected onto these ‘windows’. The video was shot in september, 2001 and included different perspectives seen from those windows. The work is an elegant reference to the memory of the experience of looking out the windows from the World Trade Center--a view that has now vanished. The low-tech aesthetic of the video projections refers to the process of memory: as these images look ‘faded’ from the original, the way that memory fades our perception of the original through time. The use of glass also incorporates the viewer into the work, as they are reflected within it. as well as into a mediation of the past juxtaposed with the present. The installation also included a photo triptych. 2001-02 New Museum of Contemporary Art   New York, New York

refraction A response to my studio space in Rotterdam, the Netherlands. The space had many windows to create a simultaneous private and public space. The installation focuses on this fluidity between private and public space as well as notions surrounding looking. It had four interrelated components, using mediums such as drawing, glass, video and photography. The drawing installation includes works that are specific to the site; using architectural plans and found paper from the building. Glass the size of the window panes was installed to reflect the windows into the space and to emphasize the experience of looking. They also reflect the viewer into them, which incorporated the viewer into the physical as well as psychological aspects of the work. The video is installed where it was shot from: it depicts an everyday moment that when captured on videotape is transformed so that looking becomes an act of voyeurism and therefore inherently sexualized. The sound on the video is of entwined male and female voices describing an apartment, which underlines both the inherent banality and sexuality of the imagery in the video. This verbal description of space also relates to the architectural plans used in the drawings due to the specificity of a describing space. Reflection again becomes a way to reflect the space as the windows are reflected into the drawing installation via the Plexiglas on top. Three photographs are placed in reverse to where they were shot to focus on their relationship to time vs. place. The photographs were shot of the same building at different times of the day; this looking over a period of time gives the photographs a surveillance quality. The installation as a whole incorporates the viewer to become a character in a meta-narrative describing the unconscious of a space. 2002 Duende   Rotterdam, The Netherlands

ARCHITECTURAL INTERVENTIONS

if you lived here, you'd be home now Diptych installation for window as part of beingthere.v1.squat.03. Video installation on two screens that create a corner in a window: video follows someone moving through a squat with an emphasis on the corners of the site, the architectural environment and the piece references it’s public context by including advertising language: IF YOU LIVED HERE, YOU’D BE HOME NOW. 2003 CBK Gallery  Rotterdam, the Netherlands

going someplace that you’re not supposed to go Sound and image are fragmented to embody how memory can be experienced. The piece also describes the experience of going someplace in your memory that you're not supposed to go. 2000 Apt Gallery: Greenwich Film Festival    London, UK

timeframe Video projection of a man moving through a series of interior and exterior doorways in NYC thoughout the passing of a day. The movement becomes metaphorical; referencing the movement of time in relation to place. The video is projected onto the full expanse of an interior door and/or an exterior door and it’s frame. 2000 Arthouse   Dublin, Ireland

wall A video ‘drawing’ which follows cracks in a wall as faint television studio applause is heard when the camera stops on especially beautiful aspects. This is projected onto the full expanse of a wall. 1999 Catalyst Arts   Belfast, N.Ireland