Robert Ladislas Derr ☰
Making Meaningful Mayhem, 2023, live workshop performance for The American College of the Mediterranean<br><br>Go to menu, click VIDEOS, to watch excerpts<br><br>A workshop exploring borders, identity, and mark making through media, sound, movement, and utterance with students at the Institute for American Universities and the American College of the Mediterranean in Aix-en-Provence, France. Elements of dance, theatre, music, and visual arts collide to manifest a live experimental drawing.

Making Meaningful Mayhem, 2023

Making Meaningful Mayhem, 2023, live workshop performance for The American College of the Mediterranean<br><br>Go to menu, click VIDEOS, to watch excerpts<br><br>A workshop exploring borders, identity, and mark making through media, sound, movement, and utterance with students at the Institute for American Universities and the American College of the Mediterranean in Aix-en-Provence, France. Elements of dance, theatre, music, and visual arts collide to manifest a live experimental drawing.

Making Meaningful Mayhem, 2023

Making Meaningful Mayhem, 2023, live workshop performance for The American College of the Mediterranean<br><br>Go to menu, click VIDEOS, to watch excerpts<br><br>A workshop exploring borders, identity, and mark making through media, sound, movement, and utterance with students at the Institute for American Universities and the American College of the Mediterranean in Aix-en-Provence, France. Elements of dance, theatre, music, and visual arts collide to manifest a live experimental drawing.

Making Meaningful Mayhem, 2023

Making Meaningful Mayhem, 2023, triptych, water color, charcoal, dirt on paper, 162 x 126<br><br>A workshop exploring borders, identity, and mark making through media, sound, movement, and utterance with students at the Institute for American Universities and the American College of the Mediterranean in Aix-en-Provence, France. Elements of dance, theatre, music, and visual arts collide to manifest a live experimental drawing.

Making Meaningful Mayhem, 2023

Be Happy, 2023, video still<br><br>Go to menu, click VIDEOS, to watch excerpts<br><br>With a dental cheek retractor forcing my mouth into a smile, I fill my mouth and cover my face with Reddi-Wip Cream, then speak “be happy” 139 times. This durational performance recognizes one of the meanings of 139, which presages impending change. The end of something and the beginning of another whether good or bad. These uncertain times prompt this action.

Be Happy, 2023

Be Happy, 2023, color digital print, 30 x 20<br><br>With a dental cheek retractor forcing my mouth into a smile, I fill my mouth and cover my face with Reddi-Wip Cream, then speak “be happy” 139 times. This durational performance recognizes one of the meanings of 139, which presages impending change. The end of something and the beginning of another whether good or bad. These uncertain times prompt this action.

Be Happy, 2023

Exchange & Flow, 2022, live performance at the Cape Hatteras National Park<br><br>Go to menu, click VIDEOS, to watch excerpts<br><br>An exploration of the ecotone created by Hatteras Island’s enigmatic ocean currents at the old lighthouse site in the Cape Hatteras National Park. The University of Georgia Skidaway Institute of Oceanography believes these currents off Hatteras Island are one of the least understood current systems on the U.S. eastern seaboard. This performance creates an address to this unique ecosystem from marine life to oceanic current flow. Performers intersect and exchange twenty-eight long satin ribbons of blue, black, yellow, and red for the predominant fish found in each current including, bluefish, black sea bass, yellow sea mullet, and red drum. Known as the second perfect number, twenty-eight is the sum of its divisors. Hatteras Island’s complex current network comprises of the Gulf Stream, mid-Atlantic bright, south Atlantic bright, and Hatteras front. The chaos of the long swaths of ribbon illustrates the complexity of ecosystems and our rudimentary understanding.

Exchange & Flow, 2022

Exchange & Flow, 2022, live performance at the Cape Hatteras National Park<br><br>Go to menu, click VIDEOS, to watch excerpts<br><br>An exploration of the ecotone created by Hatteras Island’s enigmatic ocean currents at the old lighthouse site in the Cape Hatteras National Park. The University of Georgia Skidaway Institute of Oceanography believes these currents off Hatteras Island are one of the least understood current systems on the U.S. eastern seaboard. This performance creates an address to this unique ecosystem from marine life to oceanic current flow. Performers intersect and exchange twenty-eight long satin ribbons of blue, black, yellow, and red for the predominant fish found in each current including, bluefish, black sea bass, yellow sea mullet, and red drum. Known as the second perfect number, twenty-eight is the sum of its divisors. Hatteras Island’s complex current network comprises of the Gulf Stream, mid-Atlantic bright, south Atlantic bright, and Hatteras front. The chaos of the long swaths of ribbon illustrates the complexity of ecosystems and our rudimentary understanding.

Exchange & Flow, 2022

Exchange & Flow, 2022, color digital print, 40 x 24<br><br>An exploration of the ecotone created by Hatteras Island’s enigmatic ocean currents at the old lighthouse site in the Cape Hatteras National Park. The University of Georgia Skidaway Institute of Oceanography believes these currents off Hatteras Island are one of the least understood current systems on the U.S. eastern seaboard. This performance creates an address to this unique ecosystem from marine life to oceanic current flow. Performers intersect and exchange twenty-eight long satin ribbons of blue, black, yellow, and red for the predominant fish found in each current including, bluefish, black sea bass, yellow sea mullet, and red drum. Known as the second perfect number, twenty-eight is the sum of its divisors. Hatteras Island’s complex current network comprises of the Gulf Stream, mid-Atlantic bright, south Atlantic bright, and Hatteras front. The chaos of the long swaths of ribbon illustrates the complexity of ecosystems and our rudimentary understanding.

Exchange & Flow, 2022

Hoi Polloi, 2022, video still<br><br>Go to menu, click VIDEOS, to watch excerpts<br><br>Power to the People!

Hoi Polloi, 2022

Hoi Polloi, 2022, acrylic on acrylic, 11 diameter<br><br>Power to the People!

Hoi Polloi, 2022

Nothing, 2022, video still<br><br>Go to menu, click VIDEOS, to watch excerpts<br><br>The computer renders clouds as it speaks a propaganda phrase.

Nothing, 2022

Global Elites, 2022, acrylic on cardboard, paper, acrylic, 192 x 144<br><br>A cathartic community project, using Pythagorean numerology, each letter in the title determines the number of participants. The first viewing invited 47-viewers to crumble paper, dip it in paint, and hurl it against the painting. The next viewing determines the method, which could be darts thrown, water balloons tossed, etc. The subject matter comprises of the painting’s title composed of ruling class members making up each letter of the title; members were selected if their first or last name corresponds with one of the title’s letters.

Global Elites, 2022

Global Elites, 2022, acrylic on cardboard, paper, acrylic, detail<br><br>A cathartic community project, using Pythagorean numerology, each letter in the title determines the number of participants. The first viewing invited 47-viewers to crumble paper, dip it in paint, and hurl it against the painting. The next viewing determines the method, which could be darts thrown, water balloons tossed, etc. The subject matter comprises of the painting’s title composed of ruling class members making up each letter of the title; members were selected if their first or last name corresponds with one of the title’s letters.

Global Elites, 2022

Global Elites, 2022, acrylic on cardboard, paper, acrylic, detail<br><br>A cathartic community project, using Pythagorean numerology, each letter in the title determines the number of participants. The first viewing invited 47-viewers to crumble paper, dip it in paint, and hurl it against the painting. The next viewing determines the method, which could be darts thrown, water balloons tossed, etc. The subject matter comprises of the painting’s title composed of ruling class members making up each letter of the title; members were selected if their first or last name corresponds with one of the title’s letters.

Global Elites, 2022

Truth Comes Out, 2022, video still<br><br>Go to menu, click VIDEOS, to watch excerpts<br><br>Truth comes out.

Truth Comes Out, 2022

Truth Comes Out, 2022, color digital print, 62 x 36<br><br>Truth comes out.

Truth Comes Out, 2022

Sound of Days, 2021, video still, live performance for ReVIEWING Black Mountain College<br><br>Go to menu, click VIDEOS, to watch excerpts<br><br>Performers read the 8,573 days of Black Mountain College. After reading the day from a sheet of paper, they discard the paper, play their musical instrument, and then read the next day. The first year, 1933 and final year, 1957 are read solo, while performers read 1934 to 1956 simultaneously. John Cage’s performance, “But what about the noise of crumpling paper which he used to do in order to paint the series of “papier froisses” or tearing up paper to make “papier dechires?” Arp was stimulated by water (sea, lake, and flowing waters like rivers), forests,” was the point of departure.<br><br>Special thank you to the students of the University of North Carolina Asheville and Professors Boone, Heysel, and Howell.

Sound of Days, 2021

Sound of Days, 2021, live performance for ReVIEWING Black Mountain College<br><br>Performers read the 8,573 days of Black Mountain College. After reading the day from a sheet of paper, they discard the paper, play their musical instrument, and then read the next day. The first year, 1933 and final year, 1957 are read solo, while performers read 1934 to 1956 simultaneously. John Cage’s performance, “But what about the noise of crumpling paper which he used to do in order to paint the series of “papier froisses” or tearing up paper to make “papier dechires?” Arp was stimulated by water (sea, lake, and flowing waters like rivers), forests,” was the point of departure.<br><br>Special thank you to the students of the University of North Carolina Asheville and Professors Boone, Heysel, and Howell.

Sound of Days, 2021

Sound of Days, 2021, live performance for ReVIEWING Black Mountain College<br><br>Performers read the 8,573 days of Black Mountain College. After reading the day from a sheet of paper, they discard the paper, play their musical instrument, and then read the next day. The first year, 1933 and final year, 1957 are read solo, while performers read 1934 to 1956 simultaneously. John Cage’s performance, “But what about the noise of crumpling paper which he used to do in order to paint the series of “papier froisses” or tearing up paper to make “papier dechires?” Arp was stimulated by water (sea, lake, and flowing waters like rivers), forests,” was the point of departure.<br><br>Special thank you to the students of the University of North Carolina Asheville and Professors Boone, Heysel, and Howell.

Sound of Days, 2021

Sound of Days, 2021, color digital print, 60 x 34<br><br>Performers read the 8,573 days of Black Mountain College. After reading the day from a sheet of paper, they discard the paper, play their musical instrument, and then read the next day. The first year, 1933 and final year, 1957 are read solo, while performers read 1934 to 1956 simultaneously. John Cage’s performance, “But what about the noise of crumpling paper which he used to do in order to paint the series of “papier froisses” or tearing up paper to make “papier dechires?” Arp was stimulated by water (sea, lake, and flowing waters like rivers), forests,” was the point of departure.<br><br>Special thank you to the students of the University of North Carolina Asheville and Professors Boone, Heysel, and Howell.

Sound of Days, 2021

Ball Breaker, 2021, live performance for Riga Performance Festival<br><br>I break 100 ceramic balls (100 for its connotation: self-determination, independence, and infinite potential).

Ball Breaker, 2021

Ball Breaker, 2021, live performance for Riga Performance Festival<br><br>I break 100 ceramic balls (100 for its connotation: self-determination, independence, and infinite potential).

Ball Breaker, 2021

Lies: With Reckless Abaondon, 2021-2022, acrylic on facemasks, dimension varies<br><br>I collected discarded facemasks around campus and stamped each with the primary pharmaceutical company’s stock symbol.

Lies: With Reckless Abandon, 2021

Lies: With Reckless Abaondon, 2021-2022, acrylic on facemasks, dimension varies<br><br>I collected discarded facemasks around campus and stamped each with the primary pharmaceutical company’s stock symbol.

Lies: With Reckless Abandon, 2021

Lies: With Reckless Abaondon, 2021-2022, acrylic on facemasks, dimension varies<br><br>I collected discarded facemasks around campus and stamped each with the primary pharmaceutical company’s stock symbol.

Lies: With Reckless Abandon, 2021

New Day, 2020, installation view, video, acrylic on acrylic, 66 x 38.5<br><br>Kenneth Noland's painting transforms into a social experience. Viewers apply the 41 color stripes onto the off white background.

New Day, 2020

New Day, 2020, acrylic on acrylic, 66 x 38.5<br><br>Kenneth Noland's painting transforms into a social experience. Viewers apply the 41 color stripes onto the off white background.

New Day, 2020

New Day, 2020, performance with the public at Black Mountain College Museum + Arts Center for Asheville Fringe Arts Festival<br><br>Go to menu, click VIDEOS, to watch excerpts<br><br>Kenneth Noland's painting transforms into a social experience. Viewers apply the 41 color stripes onto the off white background.

New Day, 2020

New Day, 2020, color digital print, 33 x 20, showing 1 of 41<br><br>Kenneth Noland's painting transforms into a social experience. Viewers apply the 41 color stripes onto the off white background.

New Day, 2020

New Day, 2020, color digital print, 33 x 20, showing 1 of 41<br><br>Kenneth Noland's painting transforms into a social experience. Viewers apply the 41 color stripes onto the off white background.

New Day, 2020

New Day, 2020, color digital print, 98.7 x 44<br><br>Kenneth Noland's painting transforms into a social experience. Viewers apply the 41 color stripes onto the off white background.

New Day, 2020

Total Eclipse, 2020, video still<br><br>Go to menu, click VIDEOS, to watch excerpts<br><br>Very good indicators of climate change, most glaciers have shrunk by 50 percent over the last 100 years. Shown, Mt. Hood, Oregon

Total Eclipse, 2020

Curious Essence, 2020, color digital print, 43 x 44<br><br>25 is curious and interested in everything.

Curious Essence, 2020

Curious Essence, Tidalectics, 2020, color digital print, 36 x 36, showing 1 of 25<br><br>25 is curious and interested in everything.

Curious Essence, 2020

Dribble, 2019, performance with the public for Global Frequencies, Lincoln PoPS<br><br>Go to menu, click VIDEOS, to watch excerpts<br><br>Keeping with the spirit of Merce Cunningham's 1952 Suite by Chance (Space Chart Entrance and Exit) owned with copyright by the Merce Cunningham Trust, I recreate this iconic choreography of sixty-four movements, replete with the score lines by which basketballs are dribbled.

Dribble, 2019

Dribble, 2019, performance with the public for Global Frequencies, Lincoln PoPS<br><br>Go to menu, click VIDEOS, to watch excerpts<br><br>Keeping with the spirit of Merce Cunningham's 1952 Suite by Chance (Space Chart Entrance and Exit) owned with copyright by the Merce Cunningham Trust, I recreate this iconic choreography of sixty-four movements, replete with the score lines by which basketballs are dribbled.

Dribble, 2019

Dribble, 2019, performance with the public for Global Frequencies, Lincoln PoPS<br><br>Go to menu, click VIDEOS, to watch excerpts<br><br>Keeping with the spirit of Merce Cunningham's 1952 Suite by Chance (Space Chart Entrance and Exit) owned with copyright by the Merce Cunningham Trust, I recreate this iconic choreography of sixty-four movements, replete with the score lines by which basketballs are dribbled.

Dribble, 2019

All This Is That, 2019, vinyl, 120 x 78, showing 1 of 33<br><br>The surfing industry is captured.

All This Is That, 2019

All This Is That, 2019, vinyl, 120 x 78, showing 1 of 33<br><br>The surfing industry is captured.

All This Is That, 2019

All This Is That, 2019, vinyl, 120 x 78, showing 1 of 33<br><br>The surfing industry is captured.

All This Is That, 2019

Ball Breaker, 2019, live performance at Experimental Action Festival<br><br>Go to menu, click VIDEOS, to watch excerpts<br><br>I break 100 ceramic balls (100 for its connotation: self-determination, independence, and infinite potential).

Ball Breaker, 2019

Yellow, 2018, installation view of Tangled, Betwixt and Between, and Take My Breath Away

Yellow, 2018

Tangled, 2018, video still<br><br>Go to menu, click VIDEOS, to watch excerpts<br><br>Tangled was born out of elements in Pieter Bruegel the Elder’s The Netherlandish Proverbs, in which a man is cloaked in a blue cape by a woman to illustrate him a cuckold. I am blindfolded by a blue scarf and wrapped by 100 coils of yellow rope binding my arms and legs that is tied to a palm tree. Against a foreboding sky, I unravel myself, transferring the rope onto the tree. As I work loose, the rope slowly falls, eventually tangling my ankles. The performance presents chaos and continues until I am able to free my feet and walk away.

Tangled, 2018

Betwixt and Between, 2018, video still<br><br>Go to menu, click VIDEOS, to watch excerpts<br><br>I took cues from Vito Acconci's Centers (Vito struggles to keep his finger pointing center of the screen) and hold a gun pointed center. Using a curtain of invasive vine as my background to minimize depth, I aim the gun and yell bang, which prompts assault by an egg. Each bang triggers an egg progressing through 100 eggs.

Betwixt and Between, 2018

Betwixt and Between, 2018, color digital print, 60 x 44, lays on the floor under the video<br><br>Go to menu, click VIDEOS, to watch excerpts

Betwixt and Between, 2018

Take My Breath Away, 2018, video still<br><br>Go to menu, click VIDEOS, to watch excerpts<br><br>I perform with Emoji balloons to examine the reduction of language and communication to mere symbols. Entering a privy, I sit and inflate, using my breath, 100 yellow Emoji balloons. My intent was for the balloons to fill up the space around me. But like life, intention yields to reality. Unleashing each balloon, it casually floats to a new resting spot. Associations proliferate between the elements. The comical sputter of the balloons reverberates noises made by the body during waste elimination.

Take My Breath Away, 2018

Take My Breath Away, 2018, color digital print, 44 x 44<br><br>I perform with Emoji balloons to examine the reduction of language and communication to mere symbols.

Take My Breath Away, 2018

Amusement, 2018, color digital print, 44 x 44, showing 1 of 25<br><br>The Waterfall Action Park featured a water slide, go kart track, and minature golf until one of the owners died and hurricane Sandy.

Amusement, 2018

Amusement, 2018, color digital print, 44 x 44, showing 1 of 25<br><br>The Waterfall Action Park featured a water slide, go kart track, and minature golf until one of the owners died and hurricane Sandy.

Amusement, 2018

Amusement, 2018, color digital print, 44 x 44, showing 1 of 25<br><br>The Waterfall Action Park featured a water slide, go kart track, and minature golf until one of the owners died and hurricane Sandy.

Amusement, 2018

Escaping Altamont, 2018, performance with the public at The Refinery Creator Space for Asheville Fringe Arts Festival<br><br>Go to menu, click VIDEOS, to watch excerpts<br><br>Escaping Altamont departs from Thomas Clayton Wolfe's Look Homeward, Angel. Visualizing the idea of escape, thirty-seven people--the number of years Wolfe lived--break through a wall of paper.

Escaping Altamont, 2018

Escaping Altamont, 2018, performance with the public at The Refinery Creator Space for Asheville Fringe Arts Festival<br><br>Go to menu, click VIDEOS, to watch excerpts<br><br>Escaping Altamont departs from Thomas Clayton Wolfe's Look Homeward, Angel. Visualizing the idea of escape, thirty-seven people--the number of years Wolfe lived--break through a wall of paper.

Escaping Altamont, 2018

Escaping Altamont, 2018, performance with the public at The Refinery Creator Space for Asheville Fringe Arts Festival<br><br>Go to menu, click VIDEOS, to watch excerpts<br><br>Escaping Altamont departs from Thomas Clayton Wolfe's Look Homeward, Angel. Visualizing the idea of escape, thirty-seven people--the number of years Wolfe lived--break through a wall of paper.

Escaping Altamont, 2018

Escaping Altamont, 2018, color digital print, 30 x 20, showing 1 of 10<br><br>Escaping Altamont departs from Thomas Clayton Wolfe's Look Homeward, Angel. Visualizing the idea of escape, thirty-seven people--the number of years Wolfe lived--break through a wall of paper.

Escaping Altamont, 2018

Escaping Altamont, 2018, color digital print, 30 x 20, showing 1 of 10<br><br>Escaping Altamont departs from Thomas Clayton Wolfe's Look Homeward, Angel. Visualizing the idea of escape, thirty-seven people--the number of years Wolfe lived--break through a wall of paper.

Escaping Altamont, 2018

Escaping Altamont, 2018, color digital print, 30 x 20, showing 1 of 10<br><br>Escaping Altamont departs from Thomas Clayton Wolfe's Look Homeward, Angel. Visualizing the idea of escape, thirty-seven people--the number of years Wolfe lived--break through a wall of paper.

Escaping Altamont, 2018

Strong Man, 2018, video still<br><br>Go to menu, click VIDEOS, to watch excerpts<br><br>I use Thomas Edison’s 1894 film of Eugen Sandow, the father of modern bodybuilding, to humorously contextualize the representation of masculinity. Sandow sculpted his body in the likeness of classical Greek statues developing the concept of The Grecian Ideal.

Strong Man, 2018

Eden: 4’33, 2018, video still<br><br>Go to menu, click VIDEOS, to watch excerpts<br><br>The viewer's ambient sound creates the audio for this disciplined action performed at Black Mountain College.

Eden: 4'33," 2018

Express Yourself, 2018, video still<br><br>Go to menu, click VIDEOS, to watch excerpts<br><br>In recognition of Emoji Day, I express myself.

Express Yourself, 2018

Mercy Mercy Me, 2018, video still<br><br>Go to menu, click VIDEOS, to watch excerpts<br><br>On almost a daily basis, the headlines include such news from, poachers kill nearly 90 elephants for their tusks near wildlife sanctuary in Botswana (September 2018), 300 olive ridley sea turtles found dead in fishing net off the coast of Mexico (August 2018), polar bear shot dead to allow German tourist expedition onto a remote island in Norway's Svalbard archipelago (July 2018), Indonesian villagers kill 300 crocodiles after one kills a man (July 2018), to the polar ice sheets are melting faster than ever (ongoing reports). Among the dead coastal trees, once a dense mangrove, I slip off my branch.

Mercy Mercy Me, 2018

Generation Usurpation, 2017, video still<br><br>Go to menu, click VIDEOS, to watch excerpts<br><br>In a mash-up, combining the most influential rock song of each decade from 1950 to 2010, dinosaur movies from 1914 to 2015, and video with my childhood dinosaur collection, I highlight generation usurpation.

Generation Usurpation, 2017

Day In, Day Out, 2017, installation view of Seating Arrangement, The Object is the Path, and Safe Space

Day In, Day Out, 2017

The Object is the Path, 2017, video still<br><br>Go to menu, click VIDEOS, to watch excerpts<br><br>During the sunrise on a beach, I dig out the sand deep enough to erect and hold a ladder in the air and climb up and over it.

The Object is the Path, 2017

Seating Arrangement, 2017, video still<br><br>Go to menu, click VIDEOS, to watch excerpts<br><br>The institutional chair is a stricture of convention I subvert as I put the object in motion.

Seating Arrangement, 2017

Safe Space, 2017, video still, not shown: color digital print, 60 x 34<br><br>Go to menu, click VIDEOS, to watch excerpts<br><br>The idea of a safe space for the marginalized has suffered misuse by groups attempting to suppress free speech and differing views. I address safe space through an escape to lush woodland at dusk; nineteenth century conservationist John Muir suggested, “The clearest way into the Universe is through a forest.” Performing the yoga Plow Pose for twenty minutes, the length corresponds with the suggested time for meditation. Marking time, a candle inserted in my anus burns for the duration as dusk slips into night.

Safe Space, 2017

Extinction Extraction, 2017, color digital print, 20 x 17, showing 1 of 20<br><br>Species displaced.

Extinction Extraction, 2017

Extinction Extraction, 2017, color digital print, 20 x 17, showing 1 of 20<br><br>Species displaced.

Extinction Extraction, 2017

Extinction Extraction, 2017, color digital print, 44 x 44<br><br>Species displaced.

Extinction Extraction, 2017

Lincoln Highway, 2017, color digital print, 36 x 36, showing 1 of 50<br><br>Completed in 1913 and 3,389 miles, the Lincoln Highway was one of the first transcontinental highways.

Lincoln Highway, 2017

Lincoln Highway, 2017, color digital print, 36 x 36, showing 1 of 50<br><br>Completed in 1913 and 3,389 miles, the Lincoln Highway was one of the first transcontinental highways.

Lincoln Highway, 2017

Lincoln Highway, 2017, color digital print, 36 x 36, showing 1 of 50<br><br>Completed in 1913 and 3,389 miles, the Lincoln Highway was one of the first transcontinental highways.

Lincoln Highway, 2017

Kiss The Sky, 2017, performance with the public at The Railyard for Lincoln Partners for Public Art and Nebraska 150 Celebration<br><br>Go to menu, click VIDEOS, to watch excerpts<br><br>150 kisses for the sesquicentennial. Participants jump to kiss the sky revealing transparency of etiquette toward the lens.

Kiss The Sky, 2017

Kiss The Sky, 2017, performance with the public at The Railyard for Lincoln Partners for Public Art and Nebraska 150 Celebration<br><br>Go to menu, click VIDEOS, to watch excerpts<br><br>150 kisses for the sesquicentennial. Participants jump to kiss the sky revealing transparency of etiquette toward the lens.

Kiss The Sky, 2017

Kiss The Sky, 2017, performance with the public at The Railyard for Lincoln Partners for Public Art and Nebraska 150 Celebration<br><br>Go to menu, click VIDEOS, to watch excerpts<br><br>150 kisses for the sesquicentennial. Participants jump to kiss the sky revealing transparency of etiquette toward the lens.

Kiss The Sky, 2017

Kiss The Sky, 2017, color digital print, 74.5 x 44<br><br>150 kisses for the sesquicentennial. Participants jump to kiss the sky.

Kiss The Sky, 2017

Upstream, 2017, video still<br><br>Go to menu, click VIDEOS, to watch excerpts<br><br>According to eighteenth century historian, Edward Gibbon, The winds and waves are always on the side of the ablest navigators. During residency at Otto's Abode (Wanakena, NY), I traversed the Oswegatchie River.

Upstream, 2017

Mischievousness with Malevich, 2016, video still<br><br>Go to menu, click VIDEOS, to watch excerpts<br><br>An examination of the duplicitous and ghostly, I jump over the mirror repetitively during sunrise, supposing the quintessence of suprematism.

Mischievousness with Malevich, 2016

Keep An Eye On, 2016, video still<br><br>Go to menu, click VIDEOS, to watch excerpts<br><br>I explore the focus function of the camera with a box set of fifty antique prosthetic glass eyes.

Keep An Eye On, 2016

Keep An Eye On, 2016, installation view

Keep An Eye On, 2016

Keep An Eye On, 2016, installation view

Keep An Eye On, 2016

Keep An Eye On, 2015, color digital print, 20 x 20, showing 1 of 50<br><br>I scan a box set of fifty antique prosthetic glass eyes.

Keep An Eye On, 2015

Keep An Eye On, 2015, color digital print, 20 x 20, showing 1 of 50<br><br>I scan a box set of fifty antique prosthetic glass eyes.

Keep An Eye On, 2015

Keep An Eye On, 2015, color digital print, 72.5 x 41<br><br>I scan a box set of fifty antique prosthetic glass eyes.

Keep An Eye On, 2015

Dribble, 2016, live performance at Black Mountain College Museum + Arts Center<br><br>Keeping with the spirit of Merce Cunningham's 1952 Suite by Chance (Space Chart Entrance and Exit) owned with copyright by the Merce Cunningham Trust, I recreate this iconic choreography of sixty-four movements, replete with the score lines by which basketballs are dribbled.

Dribble, 2016

Dribble, 2017, video stills, four-channel<br><br>Go to menu, click VIDEOS, to watch excerpts<br><br>Keeping with the spirit of Merce Cunningham's 1952 Suite by Chance (Space Chart Entrance and Exit) owned with copyright by the Merce Cunningham Trust, I recreate this iconic choreography of sixty-four movements, replete with the score lines by which basketballs are dribbled.

Dribble, 2017

Dribble, 2017, color digital print, 44 x 44

Dribble, 2017

Unidentified Flying Object, 2016, color digital print, 91 x 13

Unidentified Flying Object, 2016

Aesthetic Judgment, aka Shoveling, 2014, live performance at Collaborative Concept's Performance Art on the Farm<br><br>I explore Emmanuel Kant’s The Critique of Judgment through a performance of shoveling cow manure for eight hours to surmise how aesthetic value is derived.

Aesthetic Judgment, 2014

Aesthetic Judgment, 2016, video installation, two-channel video<br><br>Go to menu, click VIDEOS, to watch excerpts<br><br>I explore Emmanuel Kant’s The Critique of Judgment through a performance of shoveling cow manure for eight hours to surmise how aesthetic value is derived.

Aesthetic Judgment, 2016

Chance, 2005-2014, live performances, 33 cities worldwide<br><br>Chance puts me at the center of psychogeography as I perambulate through cities directed by viewers’ die rolls.

Chance, 2005-2014

Chance, 2005-2014, live performances, 33 cities worldwide<br><br>Chance puts me at the center of psychogeography as I perambulate through cities directed by viewers’ die rolls.

Chance, 2005-2014

Chance, 2005-2014, live performances, 33 cities worldwide<br><br>Chance puts me at the center of psychogeography as I perambulate through cities directed by viewers’ die rolls.

Chance, 2005-2014

Chance, 2005-2014, live performances, 33 cities worldwide<br><br>Chance puts me at the center of psychogeography as I perambulate through cities directed by viewers’ die rolls.

Chance, 2005-2014

Chance: Vancouver, Canada, 2007, video installation, four-channel<br><br>Go to menu, click VIDEOS, to watch excerpts<br><br>Chance puts me at the center of psychogeography as I perambulate through cities directed by viewers’ die rolls.

Chance, 2007

Chance, 2015, installation view, showing 8 of 33<br><br>Chance puts me at the center of psychogeography as I perambulate through cities directed by viewers’ die rolls.

Chance, 2015

Chance, 2015, installation view, showing 8 of 33<br><br>Chance puts me at the center of psychogeography as I perambulate through cities directed by viewers’ die rolls.

Chance, 2015

Chance: Turku, Finland, 2009, color digital print, 24 x 86, showing 1 of 33<br><br>Chance puts me at the center of psychogeography as I perambulate through cities directed by viewers’ die rolls.

Chance, 2009

Chance: Copenhagen, Denmark, 2009, color digital print, 24 x 86, showing 1 of 33<br><br>Chance puts me at the center of psychogeography as I perambulate through cities directed by viewers’ die rolls.

Chance, 2009

Chance: Boston, Massachusetts, 2008, color digital print, 24 x 86, showing 1 of 33<br><br>Chance puts me at the center of psychogeography as I perambulate through cities directed by viewers’ die rolls.

Chance, 2008

Chance: Vancouver, Canada, 2007, color digital print, 24 x 86, showing 1 of 33<br><br>Chance puts me at the center of psychogeography as I perambulate through cities directed by viewers’ die rolls.

Chance, 2007

Blasted Tracings, 2014, video still, two-channel split screen with digital images<br><br>Go to menu, click VIDEOS, to watch excerpts<br><br>Equestrian statues have a certain interest for me, masculine symbols of a bygone era and history, their statement provides a tenuous approach. Exploring the sites of the former statues of Lord Gough (Phoenix Park), King William of Orange (College Green), and King George II (St. Stephen's Green) with my cameras in Dublin, Ireland, I examine how we experience and understand history.

Blasted Tracings, 2014

Ebb and Flow, 2014, video still<br><br>Go to menu, click VIDEOS, to watch excerpts<br><br>Ebb and Flow presents the days of the week dug into the sand and the erasure of the days by the ocean tides.

Ebb and Flow, 2014

Ebb and Flow, 2014, diptych, color digital print, 96 x 13<br><br>Ebb and Flow presents the days of the week dug into the sand and the erasure of the days by the ocean tides.

Ebb and Flow, 2014

Ebb and Flow, 2014, diptych, color digital print, 96 x 13<br><br>Ebb and Flow presents the days of the week dug into the sand and the erasure of the days by the ocean tides.

Ebb and Flow, 2014

What is university?, 2014, performance with the public for 8 Performances, The Ohio State University<br><br>Go to menu, click VIDEOS, to watch excerpts<br><br>I ask The Ohio State University passersby to consider, using one word, what is university?

What is university?, 2014

What is university?, 2014, color digital print, 5.25 x 5.25, showing 1 of 32<br><br>I ask The Ohio State University passersby to consider, using one word, what is university?

What is university?, 2014

What is university?, 2014, color digital print, 5.25 x 5.25, showing 1 of 32<br><br>I ask The Ohio State University passersby to consider, using one word, what is university?

What is university?, 2014

What is university?, 2014, color digital print, 43.5 x 44<br><br>I ask The Ohio State University passersby to consider, using one word, what is university?

What is university?, 2014

Face Book, 2013, video still<br><br>Go to menu, click VIDEOS, to watch excerpts<br><br>A component to my exhibition Face Book: A Social Experience, I consider the decline of bookstores and consequences of digitizing books. A random search of the Internet for the 100 must read books for men took me to artofmanliness.com. The computer reads the titles, mispronouncing some of the words, as I perform.

Face Book, 2013

Face Book (Plato), 2015, graphite on smooth paper with color digital print, 14 x 17, showing 1 of 100<br><br>A component to my exhibition Face Book: A Social Experience, I consider the decline of bookstores and consequences of digitizing books. A random search of the Internet for the 100 must read books for men took me to artofmanliness.com.

Face Book, 2015

Face Book (Hemmingway), 2015, graphite on smooth paper with color digital print, 14 x 17, showing 1 of 100<br><br>A component to my exhibition Face Book: A Social Experience, I consider the decline of bookstores and consequences of digitizing books. A random search of the Internet for the 100 must read books for men took me to artofmanliness.com.

Face Book, 2015

Face Book (Steinbeck), 2015, graphite on smooth paper with color digital print, 14 x 17, showing 1 of 100<br><br>A component to my exhibition Face Book: A Social Experience, I consider the decline of bookstores and consequences of digitizing books. A random search of the Internet for the 100 must read books for men took me to artofmanliness.com.

Face Book, 2015

Face Book (Salinger), 2015, graphite on smooth paper with color digital print, 14 x 17, showing 1 of 100<br><br>A component to my exhibition Face Book: A Social Experience, I consider the decline of bookstores and consequences of digitizing books. A random search of the Internet for the 100 must read books for men took me to artofmanliness.com.

Face Book, 2015

Falling Gretel Dung Miss Garland Hell Spaces, 2013, live performance at Raygun Contemporary Art Projects<br><br>A component to my exhibition Face Book: A Social Experience, each scholar in character reads one sentence from a favorite book, each in turn, creating an entirely new literary work.

Falling Gretel Dung Miss Garland Hell Spaces, 2013

Falling Gretel Dung Miss Garland Hell Spaces, 2013, video still<br><br>Go to menu, click VIDEOS, to watch excerpts<br><br>A component to my exhibition Face Book: A Social Experience, each scholar in character reads one sentence from a favorite book, each in turn, creating an entirely new literary work.

Falling Gretel Dung Miss Garland Hell Spaces, 2013

Falling Gretel Dung Miss Garland Hell Spaces, 2014, color digital print, 24 x 24, showing 1 of 7

Falling Gretel Dung Miss Garland Hell Spaces, 2014

Falling Gretel Dung Miss Garland Hell Spaces, 2014, color digital print, 24 x 24, showing 1 of 7

Falling Gretel Dung Miss Garland Hell Spaces, 2014

Falling Gretel Dung Miss Garland Hell Spaces, 2014, color digital print, 24 x 24, showing 1 of 7

Falling Gretel Dung Miss Garland Hell Spaces, 2014

Falling Gretel Dung Miss Garland Hell Spaces, 2014, color digital print, 120 x 24

Falling Gretel Dung Miss Garland Hell Spaces, 2014

Bewilderments of the Eyes, 2014, video still, two-channel split screen<br><br>Go to menu, click VIDEOS, to watch excerpts<br><br>Using Plato’s The Allegory of the Cave as a point of departure, I hang a white silhouette of infamous nineteenth century British escapee, William Buckley at the entrance of his hideout cave in Point Lonsdale, Australia. A structural film, every other second I sequentially pull from the end backward. Punctuating each real time visual second, I strike the piano keys successively from left to right. For the reverse seconds, I press the keys from right to left, also flipping the audio files to give the ominous sound. With the assistance of the Wathaurung Indigenous people, Buckley was presumed dead until he surrendered over three decades later.

Bewilderments of the Eyes, 2014

Bewilderments of the Eyes, 2014, diptych, color digital print, 44 x 55

Bewilderments of the Eyes, 2014

Bewilderments of the Eyes, 2014, diptych, color digital print, 44 x 55

Bewilderments of the Eyes, 2014

Attempt at a Mistake, 2013, video still, two-channel split screen<br><br>Go to menu, click VIDEOS, to watch excerpts<br><br>There are no slips of the tongue according to Sigmund Freud in his 1935 essay, The Subtleties of a Faulty Action. Invited to create a video for 100x100=900 (100 video artists to tell a century), I perform a slip of the tongue, writing Freud's sentence that discovered parapraxis with my lips.

Attempt at a Mistake, 2013

Attempt at a Mistake, 2014, color digital print, 44 x 24<br><br>There are no slips of the tongue according to Sigmund Freud in his 1935 essay, The Subtleties of a Faulty Action. Invited to create a video for 100x100=900 (100 video artists to tell a century), I perform a slip of the tongue, writing Freud's sentence that discovered parapraxis with my lips.

Attempt at a Mistake, 2014

Where There’s Smoke, 2013, book, 10 x 8.5 x 1.25, created for Chido Johnson’s Love Library, Let's Talk About Love Baby

Where There’s Smoke, 2013

A Rolling Stone Gathers No Moss, 2013, video stills, two-channel<br><br>Go to menu, click VIDEOS, to watch excerpts<br><br>It was Sisyphus from Greek mythology who repeatedly rolled a boulder up a hill as punishment by the gods for deception.

A Rolling Stone Gathers No Moss, 2013

A Rolling Stone Gathers No Moss, 2013, diptych, color digital print, 43 x 44<br><br>It was Sisyphus from Greek mythology who repeatedly rolled a boulder up a hill as punishment by the gods for deception.

A Rolling Stone Gathers No Moss, 2013

A Rolling Stone Gathers No Moss, 2013, diptych, color digital print, 43 x 44<br><br>It was Sisyphus from Greek mythology who repeatedly rolled a boulder up a hill as punishment by the gods for deception.

A Rolling Stone Gathers No Moss, 2013

No Time Like The Present, 2013, video still, five-channel split screen<br><br>Go to menu, click VIDEOS, to watch excerpts<br><br>Since everything is confined to its own temporal existence, there is no time like the present. I spin with each word in the title at 8am on Monday, 11am on Tuesday, 2pm on Wednesday, 5pm on Thursday, and 8pm on Friday. The momentary present immediately becomes the past.

No Time Like The Present, 2013

No Time Like The Present, 2014, color digital print, 35 x 26<br><br>Since everything is confined to its own temporal existence, there is no time like the present. I spin with each word in the title at 8am on Monday, 11am on Tuesday, 2pm on Wednesday, 5pm on Thursday, and 8pm on Friday. The momentary present immediately becomes the past.

No Time Like The Present, 2014

Blue Red States, 1993, reedited 2013, diptych, color digital print, 44 x 44.5

Blue Red States, 2013

Blue Red States, 1993, reedited 2013, diptych, color digital print, 44 x 44.5

Blue Red States, 2013

58 Kisses, 2012, video still<br><br>Go to menu, click VIDEOS, to watch excerpts<br><br>One kiss for each year of James Joyce’s life. This performance of admiration acknowledges his sentient observations of everyday dramas and understanding of what it meant to be modern.

58 Kisses, 2012

58 Kisses, 2014, color digital print, 53 x 36<br><br>One kiss for each year of James Joyce’s life. This performance of admiration acknowledges his sentient observations of everyday dramas and understanding of what it meant to be modern.

58 Kisses, 2014

Stroking Wilde, 2012, video still, two-channel split screen<br><br>Go to menu, click VIDEOS, to watch excerpts<br><br>As I watched the tourists line up to snap a picture of Oscar Wilde’s crotch above their heads in Merrion Square Park (Dublin, Ireland), my mind filled with thoughts of mischief.

Stroking Wilde, 2012

Hunting the Wren, 2012, installation view of three two-channel split screen video<br><br>Go to menu, click VIDEOS, to watch excerpts<br><br>Based upon the antient Irish custom of hunting the wren during the winter solstice, I endeavor to find a wren across the terrain in Ireland.

Hunting the Wren, 2012

Hunting the Wren, 2013, color digital print, 40 x 42<br><br>Based upon the antient Irish custom of hunting the wren during the winter solstice, I endeavor to find a wren across the terrain in Ireland.

Hunting the Wren, 2013

Out Here in the Fields, 2012, color digital print, 37 x 24, showing 1 of 14<br><br>On the 30th anniversary of The Who concert stampede killing eleven people, I photographed the doors around the Riverfront Coliseum, Cincinnati, OH.

Out Here in the Fields, 2012

Out Here in the Fields, 2012, color digital print, 37 x 24, showing 1 of 14<br><br>On the 30th anniversary of The Who concert stampede killing eleven people, I photographed the doors around the Riverfront Coliseum, Cincinnati, OH.

Out Here in the Fields, 2012

Out Here in the Fields, 2012, color digital print, 87.5 x 39<br><br>On the 30th anniversary of The Who concert stampede killing eleven people, I photographed the doors around the Riverfront Coliseum, Cincinnati, OH.

Out Here in the Fields, 2012

Discovering Columbus, Part I: Cities, 2012, installation view of four-channel video<br><br>Interested in the semiotics of a group of towns sharing an appellation, I discover the ten towns in the United States named after Christopher Columbus including Columbia, Maryland | Columbia, Missouri | Columbia, South Carolina | Columbiana, Ohio | Columbus, Georgia | Columbus, Indiana | Columbus, Mississippi | Columbus, Ohio | Columbus, Wisconsin | Washington, District of Columbia.

Discovering Columbus, 2012

Discovering Columbus, Part I: Cities, 2011, video still from four-channel video<br><br>Go to menu, click VIDEOS, to watch excerpts<br><br>Interested in the semiotics of a group of towns sharing an appellation, I discover the ten towns in the United States named after Christopher Columbus including Columbia, Maryland | Columbia, Missouri | Columbia, South Carolina | Columbiana, Ohio | Columbus, Georgia | Columbus, Indiana | Columbus, Mississippi | Columbus, Ohio | Columbus, Wisconsin | Washington, District of Columbia.

Discovering Columbus, 2011

Discovering Columbus, 2012, installation view of color digital prints, 36 x 36, showing 5 of 10<br><br>Interested in the semiotics of a group of towns sharing an appellation, I discover the ten towns in the United States named after Christopher Columbus including Columbia, Maryland | Columbia, Missouri | Columbia, South Carolina | Columbiana, Ohio | Columbus, Georgia | Columbus, Indiana | Columbus, Mississippi | Columbus, Ohio | Columbus, Wisconsin | Washington, District of Columbia.

Discovering Columbus, 2012

Discovering Columbus, Cancer (Washington, District of Columbia), 2012, color digital print, 36 x 36, showing 1 of 10<br><br>Interested in the semiotics of a group of towns sharing an appellation, I discover the ten towns in the United States named after Christopher Columbus including Columbia, Maryland | Columbia, Missouri | Columbia, South Carolina | Columbiana, Ohio | Columbus, Georgia | Columbus, Indiana | Columbus, Mississippi | Columbus, Ohio | Columbus, Wisconsin | Washington, District of Columbia.

Discovering Columbus, 2012

Discovering Columbus, Pisces (Columbus, Indiana), 2012, color digital print, 36 x 36, showing 1 of 10<br><br>Interested in the semiotics of a group of towns sharing an appellation, I discover the ten towns in the United States named after Christopher Columbus including Columbia, Maryland | Columbia, Missouri | Columbia, South Carolina | Columbiana, Ohio | Columbus, Georgia | Columbus, Indiana | Columbus, Mississippi | Columbus, Ohio | Columbus, Wisconsin | Washington, District of Columbia.

Discovering Columbus, 2012

Discovering Columbus, Pisces (Columbia, South Carolina), 2012, color digital print, 36 x 36, showing 1 of 10<br><br>Interested in the semiotics of a group of towns sharing an appellation, I discover the ten towns in the United States named after Christopher Columbus including Columbia, Maryland | Columbia, Missouri | Columbia, South Carolina | Columbiana, Ohio | Columbus, Georgia | Columbus, Indiana | Columbus, Mississippi | Columbus, Ohio | Columbus, Wisconsin | Washington, District of Columbia.

Discovering Columbus, 2012

Discovering Columbus, Part II: Parks, 2011, video still<br><br>Interested in the semiotics of a group of towns sharing an appellation, I discover the ten towns in the United States named after Christopher Columbus including Columbia, Maryland | Columbia, Missouri | Columbia, South Carolina | Columbiana, Ohio | Columbus, Georgia | Columbus, Indiana | Columbus, Mississippi | Columbus, Ohio | Columbus, Wisconsin | Washington, District of Columbia.

Discovering Columbus, 2011

Discovering Columbus, Part II: Parks, Cancer (Washington, District of Columbia), 2012, color digital print, 48 x 10<br><br>Interested in the semiotics of a group of towns sharing an appellation, I discover the ten towns in the United States named after Christopher Columbus including Columbia, Maryland | Columbia, Missouri | Columbia, South Carolina | Columbiana, Ohio | Columbus, Georgia | Columbus, Indiana | Columbus, Mississippi | Columbus, Ohio | Columbus, Wisconsin | Washington, District of Columbia.

Discovering Columbus, 2012

Discovering Columbus, Part II: Parks, Cancer (Columbus, Ohio), 2012, color digital print, 48 x 10<br><br>Interested in the semiotics of a group of towns sharing an appellation, I discover the ten towns in the United States named after Christopher Columbus including Columbia, Maryland | Columbia, Missouri | Columbia, South Carolina | Columbiana, Ohio | Columbus, Georgia | Columbus, Indiana | Columbus, Mississippi | Columbus, Ohio | Columbus, Wisconsin | Washington, District of Columbia.

Discovering Columbus, 2012

Prestidigitation, 2011, video still<br><br>A sleight of hand, I veil and unveil the copy with a copy.

Prestidigitation, 2011

Across the Dotted Line, 2010, video still<br><br>Go to menu, click VIDEOS, to watch excerpts<br><br>Departing from special relativity, I slow the time of the video down at the point where I hop between the center hay bales.

Across the Dotted Line, 2010

Across the Dotted Line, 2010, color digital print, 150 x 16

Across the Dotted Line, 2010

In My Shoes: Urbana, Illinois, 2011, live performance hosted by Independent Media Center for City of Urbana Public Arts Commission<br><br>In My Shoes puts me at the center of an existential dilemma of wearing community members’ shoes associated with a memorable moment.

In My Shoes, 2011

In My Shoes: Urbana, Illinois, 2011, video still, two-channel split screen<br><br>Go to menu, click VIDEOS, to watch excerpts<br><br>In My Shoes puts me at the center of an existential dilemma of wearing community members’ shoes associated with a memorable moment.

In My Shoes, 2011

In My Shoes, 2011, installation view<br><br>In My Shoes puts me at the center of an existential dilemma of wearing community members’ shoes associated with a memorable moment.

In My Shoes, 2011

In My Shoes: Dublin, Ireland, 2012, color digital print, 32 x 16, showing 1 of 7<br><br>In My Shoes puts me at the center of an existential dilemma of wearing community members’ shoes associated with a memorable moment.

In My Shoes, 2012

In My Shoes: Dublin, Ireland, 2012, color digital print, 32 x 16, showing 1 of 7<br><br>In My Shoes puts me at the center of an existential dilemma of wearing community members’ shoes associated with a memorable moment.

In My Shoes, 2012

In My Shoes: Dublin, Ireland, 2012, color digital print, 32 x 16, showing 1 of 7<br><br>In My Shoes puts me at the center of an existential dilemma of wearing community members’ shoes associated with a memorable moment.

In My Shoes, 2012

In My Shoes: Urbana, Illinois, 2011, color digital print, 32 x 16, showing 1 of 31<br><br>In My Shoes puts me at the center of an existential dilemma of wearing community members’ shoes associated with a memorable moment.

In My Shoes, 2011

In My Shoes: Urbana, Illinois, 2011, color digital print, 32 x 16, showing 1 of 31<br><br>In My Shoes puts me at the center of an existential dilemma of wearing community members’ shoes associated with a memorable moment.

In My Shoes, 2011

In My Shoes: Urbana, Illinois, 2011, color digital print, 32 x 16, showing 1 of 31<br><br>In My Shoes puts me at the center of an existential dilemma of wearing community members’ shoes associated with a memorable moment.

In My Shoes, 2011

In My Shoes: Turku, Finland, 2009, color digital print, 32 x 16, showing 1 of 9<br><br>In My Shoes puts me at the center of an existential dilemma of wearing community members’ shoes associated with a memorable moment.

In My Shoes, 2009

In My Shoes: Turku, Finland, 2009, color digital print, 32 x 16, showing 1 of 9<br><br>In My Shoes puts me at the center of an existential dilemma of wearing community members’ shoes associated with a memorable moment.

In My Shoes, 2009

In My Shoes: Turku, Finland, 2009, color digital print, 32 x 16, showing 1 of 9<br><br>In My Shoes puts me at the center of an existential dilemma of wearing community members’ shoes associated with a memorable moment.

In My Shoes, 2009

From There to Here and Here to There, 2010, video still, two-channel split screen<br><br>I depart from Henri Bergson’s assertion about movement, There are 2 distinct kinds of movement: there is the traversed space, and the act by which the space is traversed. In one case a spatial order is established and in the other case, qualities within a temporal sequence are distinguished.

From There to Here and Here to There, 2010

Sun Sunset Set, 2011, video still, three-channel split screen<br><br>Go to menu, click VIDEOS, to watch excerpts<br><br>Panning back and forth with the two end cameras reifies the past/future dichotomy of the sunset on Florida's gulf.

Sun Sunset Set, 2011

Sun Sunset Set, 2011, color digital print, 46 x 17.75

Sun Sunset Set, 2011

There are tears in the very nature of things, 2010, color digital print, 66 x 44

There are tears in the very nature of things, 2010

There are tears in the very nature of things, 2010, color digital print, 66 x 44

There are tears in the very nature of things, 2010

There are tears in the very nature of things, 2010, color digital print, 66 x 44

There are tears in the very nature of things, 2010

Perverted into Tyranny, 2010, video still, four-channel split screen<br><br>Go to menu, click VIDEOS, to watch excerpts<br><br>On a Norwegian farm, I attempt to herd sheep and experience their free will as an inherent instinct. Faced with a perceived threat, life escapes or fights.

Perverted into Tyranny, 2010

Perverted into Tyranny, 2011, color digital print, 44 x 44 video<br><br>On a Norwegian farm, I attempt to herd sheep and experience their free will as an inherent instinct. Faced with a perceived threat, life escapes or fights.

Perverted into Tyranny, 2011

The World Isn't Always Round, 2010, video stills, three-channel<br><br>Go to menu, click VIDEOS, to watch excerpts<br><br>Even though the viewer sees and hears me blowing the sails (my attempt to distract the viewer from the real), I pull the ship using transparent line.

The World Isn't Always Round, 2010

The World Isn't Always Round, 2010, installation view of color digital prints, 36 x 36, showing 5 of 6

The World Isn't Always Round, 2010

The World Isn't Always Round, 2010, installation view of color digital prints, 36 x 36, showing 4 of 6

The World Isn't Always Round, 2010

The World Isn't Always Round, 2010, color digital print, 36 x 36, showing 1 of 6

The World Isn't Always Round, 2010

Building Tolerance, 2010, video still, three-channel split screen<br><br>Set in the Gulf of Bothnia, nature’s entropy presages the eventual topple of the cairns.

Building Tolerance, 2010

Abandon Ship, 2010, video still<br><br>I animate a retired lifesaving boat dry docked on a sidewalk in Turku, Finland. When a ship is going down, the captain orders abandon ship.

Abandon Ship, 2010

Conservation of Momentum, 2009, video still<br><br>Go to menu, click VIDEOS, to watch excerpts<br><br>Departing from conservation of momentum, water is flowed between two people. However, communication does not flow so easily. There is a complex code to communication regulated not just by the meaning of spoken words, but also by the gesture and tone of voice.

Conservation of Momentum, 2009

Monumental Walk, 2009, video still, thirteen two-channel split screen with embedded digital images<br><br>Go to menu, click VIDEOS, to watch excerpts<br><br>Equestrian statues have a certain interest for me, masculine symbols of a bygone era and history, their statement provides a tenuous approach. With my cameras, I explore the thirteen equestrian statues throughout Washington, D.C.

Monumental Walk, 2009

Hitting a Rock in the Road, 2009, video still<br><br>Go to menu, click VIDEOS, to watch excerpts<br><br>Noticing the skeleton of a bicycle locked to a rail on the side of a road in Frankfurt, Germany that I walked past for several days, resonated with me and seemed full of potential.

Hitting a Rock in the Road, 2009

Communication with Nam June Paik, 2009, video still, two-channel split screen with embedded digital image<br><br>After exploring Pre-Bell-Man at the Museum for Communication Frankfurt, I applied Final Cut Pro’s visual filters one after the other until the video circles back to the unfiltered scene.

Communication with Nam June Paik, 2009

I don’t give a shit about the masses, 2008, 1 of 8 color digital prints, 36 x 36<br><br>Go to menu, click VIDEOS, to watch excerpts<br><br>In a durational performance, I struggle to hold a headstand against a tree.

I don’t give a shit about the masses, 2008

In Play (Dan Graham), 2009, video stills, two two-channel split screen, showing 1 of 18<br><br>Go to menu, click VIDEOS, to watch excerpts<br><br>In Play is a project I began in 2007 of ping-pong recorded with video and photography, with artists and writers of influence or like-mindedness, to highlight the interconnectivity of history, artists, writers, and ideas. To date, the project includes: Vito Acconci (2007), Vicki Goldberg (2007), Erwin Wurm (2007), Peter Garfield (2007), Martha Buskirk (2007), Gary Metz (2008), Terry Barrett (2007), Cal Kowal (2008), William Anastasi (2008), Patty Chang (2009), Dennis Oppenheim (2009), Dan Graham (2009), Michael Snow (2009), Marcy B Freedman (2010), Kate Gilmore (2010), Thomas Zummer (2011), Navjotika Kumar (2012), Olaf Breuning (2015), and Arno Rafael Minkkinen (2015)

In Play, 2009

In Play, 2007, acrylic on canvas, 72 x 53, showing 1 of 2<br><br>In Play is a project I began in 2007 of ping-pong recorded with video and photography, with artists and writers of influence or like-mindedness, to highlight the interconnectivity of history, artists, writers, and ideas. To date, the project includes: Vito Acconci (2007), Vicki Goldberg (2007), Erwin Wurm (2007), Peter Garfield (2007), Martha Buskirk (2007), Gary Metz (2008), Terry Barrett (2007), Cal Kowal (2008), William Anastasi (2008), Patty Chang (2009), Dennis Oppenheim (2009), Dan Graham (2009), Michael Snow (2009), Marcy B Freedman (2010), Kate Gilmore (2010), Thomas Zummer (2011), Navjotika Kumar (2012), Olaf Breuning (2015), and Arno Rafael Minkkinen (2015)

In Play, 2007

In Play, 2008, installation view<br><br>In Play is a project I began in 2007 of ping-pong recorded with video and photography, with artists and writers of influence or like-mindedness, to highlight the interconnectivity of history, artists, writers, and ideas. To date, the project includes: Vito Acconci (2007), Vicki Goldberg (2007), Erwin Wurm (2007), Peter Garfield (2007), Martha Buskirk (2007), Gary Metz (2008), Terry Barrett (2007), Cal Kowal (2008), William Anastasi (2008), Patty Chang (2009), Dennis Oppenheim (2009), Dan Graham (2009), Michael Snow (2009), Marcy B Freedman (2010), Kate Gilmore (2010), Thomas Zummer (2011), Navjotika Kumar (2012), Olaf Breuning (2015), and Arno Rafael Minkkinen (2015)

In Play, 2008

In Play, 2008, installation view<br><br>In Play is a project I began in 2007 of ping-pong recorded with video and photography, with artists and writers of influence or like-mindedness, to highlight the interconnectivity of history, artists, writers, and ideas. To date, the project includes: Vito Acconci (2007), Vicki Goldberg (2007), Erwin Wurm (2007), Peter Garfield (2007), Martha Buskirk (2007), Gary Metz (2008), Terry Barrett (2007), Cal Kowal (2008), William Anastasi (2008), Patty Chang (2009), Dennis Oppenheim (2009), Dan Graham (2009), Michael Snow (2009), Marcy B Freedman (2010), Kate Gilmore (2010), Thomas Zummer (2011), Navjotika Kumar (2012), Olaf Breuning (2015), and Arno Rafael Minkkinen (2015)

In Play, 2008

In Play, 2008, installation view<br><br>In Play is a project I began in 2007 of ping-pong recorded with video and photography, with artists and writers of influence or like-mindedness, to highlight the interconnectivity of history, artists, writers, and ideas. To date, the project includes: Vito Acconci (2007), Vicki Goldberg (2007), Erwin Wurm (2007), Peter Garfield (2007), Martha Buskirk (2007), Gary Metz (2008), Terry Barrett (2007), Cal Kowal (2008), William Anastasi (2008), Patty Chang (2009), Dennis Oppenheim (2009), Dan Graham (2009), Michael Snow (2009), Marcy B Freedman (2010), Kate Gilmore (2010), Thomas Zummer (2011), Navjotika Kumar (2012), Olaf Breuning (2015), and Arno Rafael Minkkinen (2015)

In Play, 2008

In Play (Vito Acconci), 2007, color digital print, 43 x 14.125 , showing 1 of 19<br><br>In Play is a project I began in 2007 of ping-pong recorded with video and photography, with artists and writers of influence or like-mindedness, to highlight the interconnectivity of history, artists, writers, and ideas. To date, the project includes: Vito Acconci (2007), Vicki Goldberg (2007), Erwin Wurm (2007), Peter Garfield (2007), Martha Buskirk (2007), Gary Metz (2008), Terry Barrett (2007), Cal Kowal (2008), William Anastasi (2008), Patty Chang (2009), Dennis Oppenheim (2009), Dan Graham (2009), Michael Snow (2009), Marcy B Freedman (2010), Kate Gilmore (2010), Thomas Zummer (2011), Navjotika Kumar (2012), Olaf Breuning (2015), and Arno Rafael Minkkinen (2015)

In Play, 2007

In Play (Erwin Wurm), 2007, color digital print, 43 x 14.125, showing 1 of 19<br><br>In Play is a project I began in 2007 of ping-pong recorded with video and photography, with artists and writers of influence or like-mindedness, to highlight the interconnectivity of history, artists, writers, and ideas. To date, the project includes: Vito Acconci (2007), Vicki Goldberg (2007), Erwin Wurm (2007), Peter Garfield (2007), Martha Buskirk (2007), Gary Metz (2008), Terry Barrett (2007), Cal Kowal (2008), William Anastasi (2008), Patty Chang (2009), Dennis Oppenheim (2009), Dan Graham (2009), Michael Snow (2009), Marcy B Freedman (2010), Kate Gilmore (2010), Thomas Zummer (2011), Navjotika Kumar (2012), Olaf Breuning (2015), and Arno Rafael Minkkinen (2015)

In Play, 2007

In Play (Vicki Goldberg), 2007, color digital print, 43 x 14.125, showing 1 of 19<br><br>In Play is a project I began in 2007 of ping-pong recorded with video and photography, with artists and writers of influence or like-mindedness, to highlight the interconnectivity of history, artists, writers, and ideas. To date, the project includes: Vito Acconci (2007), Vicki Goldberg (2007), Erwin Wurm (2007), Peter Garfield (2007), Martha Buskirk (2007), Gary Metz (2008), Terry Barrett (2007), Cal Kowal (2008), William Anastasi (2008), Patty Chang (2009), Dennis Oppenheim (2009), Dan Graham (2009), Michael Snow (2009), Marcy B Freedman (2010), Kate Gilmore (2010), Thomas Zummer (2011), Navjotika Kumar (2012), Olaf Breuning (2015), and Arno Rafael Minkkinen (2015)

In Play, 2007

In Play (Martha Buskirk), 2007, color digital print, 43 x 14.125, showing 1 of 19<br><br>In Play is a project I began in 2007 of ping-pong recorded with video and photography, with artists and writers of influence or like-mindedness, to highlight the interconnectivity of history, artists, writers, and ideas. To date, the project includes: Vito Acconci (2007), Vicki Goldberg (2007), Erwin Wurm (2007), Peter Garfield (2007), Martha Buskirk (2007), Gary Metz (2008), Terry Barrett (2007), Cal Kowal (2008), William Anastasi (2008), Patty Chang (2009), Dennis Oppenheim (2009), Dan Graham (2009), Michael Snow (2009), Marcy B Freedman (2010), Kate Gilmore (2010), Thomas Zummer (2011), Navjotika Kumar (2012), Olaf Breuning (2015), and Arno Rafael Minkkinen (2015)

In Play, 2007

In Play (Patty Chang), 2009, color digital print, 43 x 14.125, showing 1 of 19<br><br>In Play is a project I began in 2007 of ping-pong recorded with video and photography, with artists and writers of influence or like-mindedness, to highlight the interconnectivity of history, artists, writers, and ideas. To date, the project includes: Vito Acconci (2007), Vicki Goldberg (2007), Erwin Wurm (2007), Peter Garfield (2007), Martha Buskirk (2007), Gary Metz (2008), Terry Barrett (2007), Cal Kowal (2008), William Anastasi (2008), Patty Chang (2009), Dennis Oppenheim (2009), Dan Graham (2009), Michael Snow (2009), Marcy B Freedman (2010), Kate Gilmore (2010), Thomas Zummer (2011), Navjotika Kumar (2012), Olaf Breuning (2015), and Arno Rafael Minkkinen (2015)

In Play, 2009

In Play (Dan Graham), 2009, color digital print, 43 x 14.125, showing 1 of 19<br><br>In Play is a project I began in 2007 of ping-pong recorded with video and photography, with artists and writers of influence or like-mindedness, to highlight the interconnectivity of history, artists, writers, and ideas. To date, the project includes: Vito Acconci (2007), Vicki Goldberg (2007), Erwin Wurm (2007), Peter Garfield (2007), Martha Buskirk (2007), Gary Metz (2008), Terry Barrett (2007), Cal Kowal (2008), William Anastasi (2008), Patty Chang (2009), Dennis Oppenheim (2009), Dan Graham (2009), Michael Snow (2009), Marcy B Freedman (2010), Kate Gilmore (2010), Thomas Zummer (2011), Navjotika Kumar (2012), Olaf Breuning (2015), and Arno Rafael Minkkinen (2015)

In Play, 2009

In Play (Dennis Oppenheim), 2009, color digital print, 43 x 14.125, showing 1 of 19<br><br>In Play is a project I began in 2007 of ping-pong recorded with video and photography, with artists and writers of influence or like-mindedness, to highlight the interconnectivity of history, artists, writers, and ideas. To date, the project includes: Vito Acconci (2007), Vicki Goldberg (2007), Erwin Wurm (2007), Peter Garfield (2007), Martha Buskirk (2007), Gary Metz (2008), Terry Barrett (2007), Cal Kowal (2008), William Anastasi (2008), Patty Chang (2009), Dennis Oppenheim (2009), Dan Graham (2009), Michael Snow (2009), Marcy B Freedman (2010), Kate Gilmore (2010), Thomas Zummer (2011), Navjotika Kumar (2012), Olaf Breuning (2015), and Arno Rafael Minkkinen (2015)

In Play, 2009

In Play (Michael Snow), 2009, color digital print, 43 x 14.125, showing 1 of 19<br><br>In Play is a project I began in 2007 of ping-pong recorded with video and photography, with artists and writers of influence or like-mindedness, to highlight the interconnectivity of history, artists, writers, and ideas. To date, the project includes: Vito Acconci (2007), Vicki Goldberg (2007), Erwin Wurm (2007), Peter Garfield (2007), Martha Buskirk (2007), Gary Metz (2008), Terry Barrett (2007), Cal Kowal (2008), William Anastasi (2008), Patty Chang (2009), Dennis Oppenheim (2009), Dan Graham (2009), Michael Snow (2009), Marcy B Freedman (2010), Kate Gilmore (2010), Thomas Zummer (2011), Navjotika Kumar (2012), Olaf Breuning (2015), and Arno Rafael Minkkinen (2015)

In Play, 2009

In Play (Kate Gilmore), 2010, color digital print, 43 x 14.125, showing 1 of 19<br><br>In Play is a project I began in 2007 of ping-pong recorded with video and photography, with artists and writers of influence or like-mindedness, to highlight the interconnectivity of history, artists, writers, and ideas. To date, the project includes: Vito Acconci (2007), Vicki Goldberg (2007), Erwin Wurm (2007), Peter Garfield (2007), Martha Buskirk (2007), Gary Metz (2008), Terry Barrett (2007), Cal Kowal (2008), William Anastasi (2008), Patty Chang (2009), Dennis Oppenheim (2009), Dan Graham (2009), Michael Snow (2009), Marcy B Freedman (2010), Kate Gilmore (2010), Thomas Zummer (2011), Navjotika Kumar (2012), Olaf Breuning (2015), and Arno Rafael Minkkinen (2015)

In Play, 2010

In Play (Olaf Breuning), 2015, color digital print, 43 x 14.125, showing 1 of 19<br><br>In Play is a project I began in 2007 of ping-pong recorded with video and photography, with artists and writers of influence or like-mindedness, to highlight the interconnectivity of history, artists, writers, and ideas. To date, the project includes: Vito Acconci (2007), Vicki Goldberg (2007), Erwin Wurm (2007), Peter Garfield (2007), Martha Buskirk (2007), Gary Metz (2008), Terry Barrett (2007), Cal Kowal (2008), William Anastasi (2008), Patty Chang (2009), Dennis Oppenheim (2009), Dan Graham (2009), Michael Snow (2009), Marcy B Freedman (2010), Kate Gilmore (2010), Thomas Zummer (2011), Navjotika Kumar (2012), Olaf Breuning (2015), and Arno Rafael Minkkinen (2015)

In Play, 2015

In Play (Arno Minkkinen), 2015, color digital print, 43 x 14.125, showing 1 of 19<br><br>In Play is a project I began in 2007 of ping-pong recorded with video and photography, with artists and writers of influence or like-mindedness, to highlight the interconnectivity of history, artists, writers, and ideas. To date, the project includes: Vito Acconci (2007), Vicki Goldberg (2007), Erwin Wurm (2007), Peter Garfield (2007), Martha Buskirk (2007), Gary Metz (2008), Terry Barrett (2007), Cal Kowal (2008), William Anastasi (2008), Patty Chang (2009), Dennis Oppenheim (2009), Dan Graham (2009), Michael Snow (2009), Marcy B Freedman (2010), Kate Gilmore (2010), Thomas Zummer (2011), Navjotika Kumar (2012), Olaf Breuning (2015), and Arno Rafael Minkkinen (2015)

In Play, 2015

Oil City, 2007, video still<br><br>Go to menu, click VIDEOS, to watch excerpts<br><br>This video captures a vista perspective of Oil City, PA, birthplace of the petroleum industry, through a curtain of oil. Sitting on a hilltop with my video camera peering over the city and focusing on the largest building, the Oil City Bank, I pour a quart of oil over the lens of the camera clouding the view.

Oil City, 2007

Oil City, 2007, video installation<br><br>This video captures a vista perspective of Oil City, PA, birthplace of the petroleum industry, through a curtain of oil. Sitting on a hilltop with my video camera peering over the city and focusing on the largest building, the Oil City Bank, I pour a quart of oil over the lens of the camera clouding the view.

Oil City, 2007

Manholes, 2007, video still, four-channel split screen<br><br>Go to menu, click VIDEOS, to watch excerpts<br><br>Once I reached a certain depth, I could no longer kick the sand with my feet.

Manholes, 2007

Horizon Line, 2007, video still, three-channel split screen<br><br>Go to menu, click VIDEOS, to watch excerpts<br><br>The action directs the eye to the center, where the yellow rope bisects the horizon line.

Horizon Line, 2007

Horizon Line, 2007, color digital print, 35.5 x 11.5

Horizon Line, 2007

Six of One – Half a Dozen of Another, 2007, video stills, two-channel<br><br>Go to menu, click VIDEOS, to watch excerpts<br><br>Extending the boundaries of the picture plane, I dig at the edge of the frame to escape view. While in the alternate act of covering my head from view, the accumulation of the sand from the piling spills off of the frame.

Six of One – Half a Dozen of Another, 2007

Man in Relation to Men, 2006, video still<br><br>Go to menu, click VIDEOS, to watch excerpts<br><br>Man in Relation to Men looks at masculinity using an array of male action figures from diverse eras.

Man in Relation to Men, 2006

Man in Relation to Men, 2006, color digital print, 11 x 14, showing 1 of 69<br><br>Man in Relation to Men looks at masculinity using an array of male action figures from diverse eras.

Man in Relation to Men, 2006

Man in Relation to Men, 2006, color digital print, 11 x 14, showing 1 of 69<br><br>Man in Relation to Men looks at masculinity using an array of male action figures from diverse eras.

Man in Relation to Men, 2006

Man in Relation to Men, 2006, color digital print, 11 x 14, showing 1 of 69<br><br>Man in Relation to Men looks at masculinity using an array of male action figures from diverse eras.

Man in Relation to Men, 2006

Man in Relation to Men, 2008, color digital print, 55.5 x 44<br><br>Man in Relation to Men looks at masculinity using an array of male action figures from diverse eras.

Man in Relation to Men, 2008

5 Lines, 2006, video still<br><br>Go to menu, click VIDEOS, to watch excerpts<br><br>An examination of line in space with Amy Youngs and Norah Zuniga Shaw.

5 Lines, 2006

Calling, 2006, video still<br><br>Go to menu, click VIDEOS, to watch excerpts<br><br>The experience of the ephemeral art action is paramount to the materialization of the art object.

Calling, 2006

Labor, 2006, live performance at Elsewhere<br><br>For five days outside of Elsewhere (Greensboro, NC), I rolled out a spool of denim fabric that span roughly a block and a half, and then rolled the fabric back up. On the fifth day, the unrolling was photographed.

Labor, 2006

Labor, 2006, video still, four-channel split screen<br><br>Go to menu, click VIDEOS, to watch excerpts<br><br>For five days outside of Elsewhere (Greensboro, NC), I rolled out a spool of denim fabric that span roughly a block and a half, and then rolled the fabric back up. On the fifth day, the unrolling was photographed.

Labor, 2006

Labor, 2006, color digital print, 60 x 16, showing 1 of 9<br><br>For five days outside of Elsewhere (Greensboro, NC), I rolled out a spool of denim fabric that span roughly a block and a half, and then rolled the fabric back up. On the fifth day, the unrolling was photographed.

Labor, 2006

Labor, 2006, color digital print, 60 x 16, showing 1 of 9<br><br>For five days outside of Elsewhere (Greensboro, NC), I rolled out a spool of denim fabric that span roughly a block and a half, and then rolled the fabric back up. On the fifth day, the unrolling was photographed.

Labor, 2006

Labor, 2006, color digital print, 60 x 16, showing 1 of 9<br><br>For five days outside of Elsewhere (Greensboro, NC), I rolled out a spool of denim fabric that span roughly a block and a half, and then rolled the fabric back up. On the fifth day, the unrolling was photographed.

Labor, 2006

Formalism, 2006, video still<br><br>Go to menu, click VIDEOS, to watch excerpts<br><br>I tie 30 neckties around my neck according to the formal structure of ROY G BIV.

Formalism, 2006

Formalism, 2006, color digital print, 20 x 16, showing 1 of 32<br><br>I tie 30 neckties around my neck according to the formal structure of ROY G BIV.

Formalism, 2006

Formalism, 2008, color digital print, 44 x 49.5<br><br>I tie 30 neckties around my neck according to the formal structure of ROY G BIV.

Formalism, 2008

Scanning, 2006, reedited 2008, video still<br><br>Go to menu, click VIDEOS, to watch excerpts<br><br>During my travels, I let the video camera record the journey of being scanned through airport x-ray machines.

Scanning, 2008

Scanning, 2008, color digital print, 36 x 39<br><br>During my travels, I let the video camera record the journey of being scanned through airport x-ray machines.

Scanning, 2008

One Minute Spin in the Spectacle, 2006, video stills, four-channel<br><br>Standing in the middle of the bustle of New York City’s Times Square, I spin with four cameras attached to my person capturing one New–York–Minute.

One Minute Spin in the Spectacle, 2006

Garden Crawl, 2006, live performance<br><br>Allied Production, Le Petit Versailles invited me to explore their Manhattan public garden.

Garden Crawl, 2006

This Union Must and Shall be Preserved, 2005, video installation, two-channel, color digital print, 60 x 44<br><br>Through the frenzy of tourism with the statue of Andrew Jackson in and out of focus, his poignant statement carved on the base of his statue, <i>This union must and shall be preserved</i> prompts the question: Are Americans preserving or consuming the union?

This Union Must and Shall be Preserved, 2005

This Union Must and Shall be Preserved , 2005, color digital print, 60 x 44<br><br>Through the frenzy of tourism with the statue of Andrew Jackson in and out of focus, his poignant statement carved on the base of his statue, <i>This union must and shall be preserved</i> prompts the question: Are Americans preserving or consuming the union?

This Union Must and Shall be Preserved, 2005

From Museum to Main, 2005, live performance for Contemporary Artists Center's Detourism curated by Nato Thompson<br><br>Back and forth from MASS MoCA to Main Street in North Adams, MA for one hour with four video cameras.

From Museum to Main, 2005

To Helen, 2005, live performance for Provflux<br><br>I traced the footsteps Edgar Allan Poe might have taken as he wrote the poem written to his beloved Helen Whitman, resident of Providence. From the Athenaeum (where Poe wrote), I moved through the dark night passing the John Brown and Nightingale Brown houses looking for the roses Poe says, grew in an enchanted garden, to the Point Street Bridge where I met according to Poe, the mossy banks and the meandering paths.

To Helen, 2005

Lunch Break, 2005, live performance for Version 05<br><br>An hour walk during lunch with four video cameras from the Chicago Board of Trade to Chicago Mercantile Exchange.

Lunch Break, 2005

Void, 2004, color digital print of video stills, size varies<br><br>For four days, I retraced with video, the sites Leopold Bloom encountered in Ulysses chapter 10, Wandering Rocks in Dublin, Ireland during ReJoyce Dublin Festival for New Ground Center hosted by the Irish Film Institute.

Void, 2004

Massaging the Modernist Myth, 2004, color digital print, 73 x 44<br><br>I explore Jean Dubuffet’s public sculpture, Monument to the Phantom in Houston, TX with video and photography.

Massaging the Modernist Myth, 2004

First Night, 2003, live performance<br><br>On February 1, 2003, the Columbia space shuttle exploded above Texas. That night in Nacogdoches, for each of the seven astronauts, we chalked a silhouette and then recited from Jean-Paul Sartre’s Essays in Existentialism, When we say that man chooses his own self, we mean that every one of us does likewise; but we also mean by that in making this choice he also chooses all men.

First Night, 2003

First Night, 2003, live performance<br><br>On February 1, 2003, the Columbia space shuttle exploded above Texas. That night in Nacogdoches, for each of the seven astronauts, we chalked a silhouette and then recited from Jean-Paul Sartre’s Essays in Existentialism, When we say that man chooses his own self, we mean that every one of us does likewise; but we also mean by that in making this choice he also chooses all men.

First Night, 2003

Roll, 2003, color digital print, 11 x 14<br><br>Go to menu, click VIDEOS, to watch excerpts<br><br>During Pre/amble: Festival of Art and Psychogeography, I partake in a dizzying roll down a hill.

Roll, 2003

Rational Structures/Broken Conventions, 2003, color digital print, 14 x 11<br><br>During Pre/amble: Festival of Art and Psychogeography, I embark on a process of breaking conventions.

Rational Structures/Broken Conventions, 2003

Rational Structures/Broken Conventions, 2003, color digital print, 14 x 11<br><br>During Pre/amble: Festival of Art and Psychogeography, I embark on a process of breaking conventions.

Rational Structures/Broken Conventions, 2003

Self, 2003, installation view, video projected beside a color lambda print, 30 x 23<br><br>I contemplate the theory of self.

Self, 2003

Concrete Intervention, 2006, installation<br><br>Go to menu, click VIDEOS, to watch excerpts<br><br>I crawl, circling through two side-by-side culverts to illustrate monotony.

Concrete Intervention, 2006

Concrete Intervention, 2003, video stills<br><br>Go to menu, click VIDEOS, to watch excerpts<br><br>I crawl, circling through two side-by-side culverts to illustrate monotony.

Concrete Intervention, 2003

Concrete Intervention, 2008, diptych, color digital print, 58 x 43.5

Concrete Intervention, 2008

Concrete Intervention, 2008, diptych, color digital print, 58 x 43.5

Concrete Intervention, 2008

Existential Dilemma, 2003, video installation, two-channel, red box 11 x 11 x 11.5<br><br>Go to menu, click VIDEOS, to watch excerpts<br><br>Peek inside the box to find us continuously flipping inside a box that imposes laws of constraint.

Existential Dilemma, 2003

Existential Dilemma, 2003, video installation, two-channel<br><br>Go to menu, click VIDEOS, to watch excerpts<br><br>Peek inside the box to find us continuously flipping inside a box that imposes laws of constraint.

Existential Dilemma, 2003

Existential Dilemma, 2003, video installation, two-channel<br><br>Go to menu, click VIDEOS, to watch excerpts<br><br>Peek inside the box to find us continuously flipping inside a box that imposes laws of constraint.

Existential Dilemma, 2003

Existential Dilemma, 2003, color digital print, 36 x 36, showing 1 of 6

Existential Dilemma, 2003

Existential Dilemma, 2003, color digital print, 36 x 36, showing 1 of 6

Existential Dilemma, 2003

Existential Dilemma, 2003, color digital print, 36 x 36, showing 1 of 6

Existential Dilemma, 2003

Existential Dilemma, 2003, color digital print, 36 x 36, showing 1 of 6

Existential Dilemma, 2003

If this window could see, 2002, installation at 50 Murray Street for the Lower Manhattan Cultural Council’s Looking In exhibition, curated by Trevor Schoonmaker, two surveillance cameras, two black and white security monitors, red eyeglass template<br><br>The installation inverted the voyeuristic relationship of the viewer and the building.

If this window could see, 2002

Leap, 2002, streaming video installation between the Rhode Island School of Design's Sol Koffler Gallery, Brown University, University of Rhode Island, Northeastern University, and Parsons School of Design's Blur Conference<br><br>Leap necessitated cooperation to uncover the mediated presence of a viewer at another location. Special thanks to OSHEAN for setting up the network.

Leap, 2002

Leap, 2002, streaming video installation between the Rhode Island School of Design's Sol Koffler Gallery, Brown University, University of Rhode Island, Northeastern University, and Parsons School of Design's Blur Conference<br><br>Leap necessitated cooperation to uncover the mediated presence of a viewer at another location. Special thanks to OSHEAN for setting up the network.

Leap, 2002

Leap, 2002, telepresented viewer, streaming video installation between the Rhode Island School of Design's Sol Koffler Gallery, Brown University, University of Rhode Island, Northeastern University, and Parsons School of Design's Blur Conference<br><br>Leap necessitated cooperation to uncover the mediated presence of a viewer at another location. Special thanks to OSHEAN for setting up the network.

Leap, 2002

Leap, 2002, streaming video installation between the Rhode Island School of Design's Sol Koffler Gallery, Brown University, University of Rhode Island, Northeastern University, and Parsons School of Design's Blur Conference<br><br>Leap necessitated cooperation to uncover the mediated presence of a viewer at another location. Special thanks to OSHEAN for setting up the network.

Leap, 2002

Intellectual Economy, 2002, installation view<br><br>Go to menu, click VIDEOS, to watch excerpts<br><br>To gain entry into a new space, I bust my head through a wall.

Intellectual Economy, 2002

Intellectual Economy, 2002, installation view<br><br>To gain entry into a new space, I bust my head through a wall.

Intellectual Economy, 2002

Intellectual Economy, 2002, diptych, color digital print, 60.25 x 44<br><br>To gain entry into a new space, I bust my head through a wall.

Intellectual Economy, 2002

Intellectual Economy, 2002, diptych, color digital print, 60.25 x 44<br><br>To gain entry into a new space, I bust my head through a wall.

Intellectual Economy, 2002

Discipline, 2001, video still<br><br>Go to menu, click VIDEOS, to watch excerpts<br><br>After examining Abstract Expressionism in Ideology, I experience Minimalism.

Discipline, 2001

Discipline, 2001, color digital print, 24 x 30

Discipline, 2001

Museum Preservation, 2001, installation view, cyanotype and gum bichromate prints, rusted fuse boxes, lights, 50 x 40<br><br>I overlay classical Greek and Roman sculpture imagery with museum visitor and collection data to examine the blurred interests between preservation and commoditization.

Museum Preservation, 2001

Ideology, 2000, video still<br><br>Go to menu, click VIDEOS, to watch excerpts<br><br>Ideology recontextualizes the modernist myth of the heroic artist’s masculinity. I have taken the action and angst from Jackson Pollock, and incorporated it utilizing the Pollockian Performative to subvert the process of action painting and this myth.

Ideology, 2000

Chronos, 1999, installation view, color transparencies, 10 halved fifty-five gallon barrels (light box), 240 x 240<br><br>Ouranos covered and copulated with Gaia until their son Kronos became angered and castrated him, separating sky from earth and becoming known as the creator of time. The color transparencies overlay male and female figures with ten influential cathedrals and Arman clocks.

Chronos, 1999

Your Litter Invades Your Space, 1998, installation view, C-Print, 14 x 11, granite, 33 x 22, collected trash, 144 x 84<br><br>Viewers collect trash outside the gallery and place around a photograph of verdant grass on granite.

Your Litter Invades Your Space, 1998

Your Litter Invades Your Space, 1998, installation detail, C-Print, 14 x 11, granite, 33 x 22, collected trash, 144 x 84<br><br>Viewers collect trash outside the gallery and place around a photograph of verdant grass on granite.

Your Litter Invades Your Space, 1998

Eger, 1998, installation view, showing 4 of 8<br><br>Each photograph captures an empty burial vault in an unostentatious cemetery located just outside of Eger, Hungary. The austerely plain burial structure was constructed out of cement forming a grid of boxes. Many of the empty burial vaults served as shrines in remembrance of loved ones entombed in an adjoining vault. The lit antique magic lantern slides characterize a storyboard.

Eger, 1998

Eger, Angels, 1998, C-Prints, antique magic lantern slides (light box), 44 x 30 x 9, showing 1 of 8<br><br>Each photograph captures an empty burial vault in an unostentatious cemetery located just outside of Eger, Hungary. The austerely plain burial structure was constructed out of cement forming a grid of boxes. Many of the empty burial vaults served as shrines in remembrance of loved ones entombed in an adjoining vault. The lit antique magic lantern slides characterize a storyboard.

Eger, 1998

How to Support a Religious Organization, 1998, installation view, C-Prints, antique film holders, found objects, 120 x 96

How to Support a Religious Organization, 1998

Retinal Stain, Voyeur, 1996, color transparencies, wood light box, 38 x 8 x 7.5, showing 1 of 6

Retinal Stain, Voyeur, 1996

Contained Geographies = Urban Blight, 1994, installation view, C-Prints, maps, jars, shelf, 72 x 72<br><br>I cut out the impoverished area of 21 US cities from the maps, place in a jar, and set on the shelf.

Contained Geographies = Urban Blight, 1994

Contained Geographies = Urban Blight, 1994, installation detail<br><br>I cut out the impoverished area of 21 US cities from the maps, place in a jar, and set on the shelf.

Contained Geographies = Urban Blight, 1994

Connections, 1994, installation view, gelatin silver prints, C-Prints, 84 x 72

Connections, 1994

Contained, Man’s Future, 1993, C-Prints, antique film holders, text tape, found objects, 14 x 12, showing 1 of 15

Contained, Man’s Future, 1993

Contained, Exposed, 1998, C-Prints, antique film holders, 21 x 16, showing 1 of 15

Contained, Exposed, 1998

Contained, Eye Am, 1993, C-Prints, antique film holders, text tape, found objects, 12 x 17, showing 1 of 15

Contained, Eye Am, 1993

Jar Your Mind, 1993, installation view, C-Print, cow brains, wood light box, x-rays, jars, lights, chains, 72 x 96 x 60

Jar Your Mind, 1993

Fax Art, 1993, C-Prints, 42 x 8, showing 1 of 10

Fax Art, 1993

Doctor on Call, 1993, gelatin silver prints, C-Prints, staggered shadow box, 12 x 57 x 3, showing 1 of 3

Doctor on Call, 1993

Get on the Soap Box, 1992, installation view, C-Prints, gelatin silver prints, wood light box, video, hay bale, flags, found objects, 48 x 96 x 36

Get on the Soap Box, 1992

Fish Story, 1991, steel, lights, 46.5 x 22 x 13.5

Fish Story, 1991
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About

Robert Ladislas Derr is a visual artist making performances from live to intervention, videos, photographs, and multimedia installations. He has exhibited and performed widely at venues, including the Riga Performance Festival (Latvia), SomoS Art House (Germany), Black Mountain College Museum + Arts Center (US), Canberra Contemporary Art Space (Australia), Mendel Art Gallery (Canada), Schirn Kunsthalle Frankfurt (Germany), Wexner Center for the Arts (US), LIVE Performance Art Biennale (Canada), and Irish Film Institute (Ireland). His works have been funded by such organizations as the Urbana Public Arts Commission, Lower Manhattan Cultural Council, and Ohio Arts Council. Some of the permanent collections holding his work include Loyola University Museum of Art, Miami-Dade Public Library, and Indiana University Art Museum. Derr earned his MFA from the Rhode Island School of Design, BFA from the Art Academy of Cincinnati, and attended the Photography Institute National Graduate Seminar at New York University.

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© 1991 – Robert Ladislas Derr.   All rights reserved.