Josephine Bottger

Trust & Try, 2005, 7 minutes, 55 seconds

In Trust and Try, the narrative starts with a blank landscape, into which buildings are gradually pushed, until the collage of individual urban blocks eventually forms a cinematic reality. The atmosphere appears to be acrimonious and although the emerging protagonists playfully influence their own environment, they seem to have problems to find a suitable role in this instable surrounding.

Josephin Bottger lives and works in Hamburg/Germany. Between 1995 and 2001 she worked on various short films such as experimental fiction films and drawn animation films. Since her diploma at the HfbK (visual communication) in 2002 she developed various videoprojects that include 3-6 channels. In most of the installations the video loops are related to each other and to the exhibition space. In February 2007 she started the project “video-graffiti,” a mobile public screening, where projections change the surfaces of urban buildings and are deformed by their architecture.

Elisabeth Smolarz

FREUND HEIN, 4 minutes, 18 seconds

Freund Hein is an anachronistic German vernacular expression, ‘Hein’ being the impersonation of Death as an unwelcome ‘friend’ knocking on once door. I my latest video installation I conceptualized a performance based film project as an exploration of the question of death. Since the human death is typically hidden from everyday life what is the source of our death-image?

I invited people of different ages and backgrounds to my studio and asked them ‘to die’ in front of the camera. The participants were free to improvise in whatever way they wanted to pretend the act of dying. Some choose to be ‘shot’, some were ‘stabbed’, some ‘chocked,’ others said ‘good bye’, laid down and ‘died.’

The sequences of these performances were mostly short, maximum a few minutes, showing that most people imagine the act of dying as an abrupt event, a crass unexpected rupture in the experience of an everyday time continuum.

In the course of political change in the former Communist Poland of 1989 Elisabeth Smolarz’s family emigrated to Germany. Age thirteen at that time, she grew up between two different cultures and was affected by a post-communist and a democratic system. In 2003, after receiving her MFA from the State Academy of Fine Art in Stuttgart, where she studied with Prof. Michou, Prof. Eigenheer and Burkhard Blümlein, she decided to move to New York. Here she found herself adjusting again to a new environment. As a consequence she got more and more involved in the idea of how consciousness and perception is formed by one’s surrounding and its specific cultural, political, social and economical conditions.

Since then her work has been shown in the USA, Germany, Iceland, China, Spain, and Denmark; and in venues such as Galerie Reihe 22, Rotunda Gallery, Brooklyn Arts Council, Artists Space, Photography Triennial Esslingen, Baden Wuerttembergischer Kunstverein, Scope, Flux Factory, Reykjavik Photography Museum, Espai d’art contemporani de Castelló and the Sculpture Center among others.

Celeste Fichter

Ten Tips, 2006, 38 seconds

Icebergs give tips on how to prevent cold weather emergencies.

Celeste Fichter holds an MFA from the School of Visual Arts and has exhibited at PH Gallery, DeChiara Stewart Gallery, Islip Art Museum and the Bronx Museum of the Art. Her work has been reviewed in the New York Times and The Village Voice. Her video work is currently in several traveling exhibitions and film festivals in Europe and the US.

Catherine Forster

Intelligent Design, 3 minutes, 27 seconds

A child plays teacher come newscaster presenting the difference between Neanderthals and Humans. A seemingly random collection of images flashes by in the lower right hand corner of the screen; like those irritating pop-ups on your favorite TV show. The images were downloaded from a Google search on “intelligent design.” The juxtaposition of the child’s narrative and the images is both hilarious and socially poignant. The piece surfaces issues of religion, race, humanity and ignorance.

Catherine Forster is a filmmaker, artist, curator and educator. Her artwork explores themes of identity, social development, and the impact of mediation on relationships with others and the environment. She completed her MFA at The School of The Art Institute of Chicago.

Catherine Forster exhibits internationally, recent screenings and exhibitions include: Carnegie Art Museum (Oxnard CA), Echo Park Film Center (Los Angeles), South Bend Regional Art Museum, Orange County Contemporary Art Center, Exit Art (NY), Contemporary Art Centre (Vilnius, Lithuania), Hyde Park Art Center (Chicago), Liverpool Biennial The Projection Gallery (United Kingdom), Kasia Kay Art Projects (Chicago), San Diego Women Film Festival, Echo Park Film Center, Los Angeles, Magmart Film Festival, Casoria International Contemporary Art Museum (Italy), and the Portsmouth Film Festival (United Kingdom).

Forster is the founder and director of LiveBox Gallery, a non-for-profit focused on filmic and new media art. Curatorial projects include programs for The Directors Lounge, Berlin; Three Walls, Chicago; Kasia Kay Art Projects, Chicago; and the Around the Coyote Art Festival, Chicago, and Artropolis Chicago Art Fair Video Lounge.

Joanna Heatwole

Divided Days, 2008, 2 minutes, 30 seconds

Carefully perfected recipes for darkroom chemistry were at one time shared among photographers seeking the ideal tonal range. Similarly, powdered starch and bluing are no longer part of my own laundry cycle. Those material processes, so deliberately passed down through generations have been obscured by technological progress. In the three-minute video element of the installation “Divided Days” I incorporated images of enlargers and the photographic chemical process, family photographs and my own digital black and white images.

My eighty-year-old Aunt Orpha* is the narrator of the video recalling her childhood weekly household routine—her voice distant reflecting the poor connection of a long-distance call—just one of the layers of digitization and symbolic distance from the original material experience.

Ultimately my experiment was to explore some of the universal connections of human work—whether digital or material—whether lauded as “creative” or disparaged as “domestic.” As Orpha observes, “It was really an art—laundry...laundry.” Within the space of the darkroom, with its endless cycles of reversal, making art was something very much like doing the wash.

[*Some historic images reflect traditional conservative Mennonite dress and culture.]

Joanna Heatwole has served as assistant professor of time-based media at Roberts Wesleyan College in Rochester, NY since 2006. After graduating with an MFA from the Visual Studies Workshop in 2004, she worked as managing editor of Afterimage: the Journal of Media Arts and Cultural Criticism. Heatwole’s own art practice bridges a variety of media from still photography to video-based installation art as well as advocacy-oriented documentary video shorts.

She was recently invited to present on the topic of advocacy and the arts at the national conference of Acting on AIDS. Her latest video installation, “Divided Days,” references her extended family’s Amish and Mennonite cultural background and interweaves reflection on domestic work, technological change, and cross-cultural adaptation.

Judith Henry

The Southern Express, 4 minutes

The video is based on twenty years of audio-taped interviews of people describing their early sexual experiences. The narrators are the actual people telling their own tale. All of the visuals are culled from archival films, internet footage and still photographs. The man narrating The Southern Express describes his youthful discovery of his parent’s sexual relationship on a fast-moving train.

Judith Henry is a multi-media artist whose work has always mirrored her idiosyncratic and deeply personal vision of human experience as seen through the eyes of an outsider: a shadow, so to speak. For the last three decades Henry has traversed the streets of New York and other cities with a small camera and a notebook, eavesdropping and photographing the people she observed. Henry’s work takes many different forms: books: Overheard at the Museum, Overheard in Love, Overheard While Shopping, Overheard at the Bookstore, Overheard in America and Anonymous True Stories, gallery installations, photography, and video.

She is currently working on a series of video installations based on her audio-recorded collection of anonymous true stories. She graduated from Carnegie Tech in 1964.

Lori Hepner

Gear (Single Track Version), 5 minutes

In Gear, the body is used in a mechanistic loop to drive the piece through a landscape that hints at the natural, but strays slightly in the saturation of that world. A stage of over-saturated green is set. A grinding audio track drives the piece as the body enters from a blur to eventually be sliced and offset by multiplicity of screens present. The slow pacing of the figure turns into rapid loops of unnatural motions of computerized dictation; the body is a gear for technology to be furthered in the natural landscape.

Lori Hepner is an interdisciplinary artist who has been working through ideas of translation of code through performance, video, and photography since earning a B.F.A. in Fine Art Photography from Rochester institute of Technology in 2003 and an M.F.A in Digital Media at Rhode Island School of Design in 2005. Ms. Hepner’s work has been shown nationally and internationally in exhibitions, screenings, and performances including the V Festival Internacional de la Imagen in Manzales, Colombia; the Sixth International Digital Art Exhibit in Havana, Cuba; the 2005 Boston Cyberarts Festival; the Technologized Body exhibition at the Los Angeles Center for Digital Art; the FirstWorksProv Festival in Providence, RI.

Ms. Hepner recently received the Leon A. Arkus Award for her piece, Nebulous:Spasm:1, at the 97th Annual Exhibition of the Associated Artists of Pittsburgh, which was shown at the Carnegie Museum of Art in Pittsburgh, PA from November 2007 through January 2008.

Stephanie Hough

Why Do You Like Video Art

This video piece is taking its inspiration from a sub-genre in ‘YouTube,’ which involves adding voice-overs to footage from many popular cultural video, filmic and televisual forms by subverting the original meaning with humorous intention. This video is part of a broader body of research I am undertaking as part of my MA, in which I am currently looking into the phenomena of user generated online video and its effect on video art itself.

The Footage in the video piece is appropriated from Donald Cammells 1977 sci-fi thriller ‘Demon Seed’. I am satirically attempting to relate the fear with technology with the fear of video art.

Stephanie Hough is a visual artist who works with many media and thematics which cover a broad array of personal insights into popular culture. Stephanie Hough graduated from the Crawford College of Art & Design, Cork City, Ireland in 2005 and is currently in the final year of her MA ‘Art in the Digital World’ at the National College of Art & Design, Dublin, Ireland.

Caroline Koebel

Repeat Photography and the Albedo Effect, 2008, 8 minutes, 12 seconds

Repeat Photography and the Albedo Effect intermixes unlikely suspects, including Martin Scorsese’s Raging Bull, NPR reportage, and British artist Katie Paterson’s audio project, to reflect upon the impact of global warming on glaciers. The violent boxing scenes from Raging Bull are re-shot off DVD with a Bolex 16mm camera and then hand processed. Part 1 of Flicker On Off, a series applying the idiom of experimental film and artist’s video to big-budget movies in order to speak about world affairs in what could be described as an alternate essay format.

The film was hand processed in residency at Squeaky Wheel. It received the Experimental Television Center’s Finishing Funds, which is supported by the Electronic Media and Film Program at the New York State Council on the Arts.

Caroline Koebel is a filmmaker who has exhibited in the US at Anthology Film Archives, Los Angeles Film Forum, Other Cinema, MadCat Festival, and elsewhere, and internationally, including in Brazil, Cuba, Ireland, Thailand, and Poland. Recent solo screenings include Millennium Film Workshop in NYC and Artist’s Television Access in San Francisco. Transmissions of conceptual art, feminist film and literary theory, and punk DIY ethos guide her in work that embraces pleasure and desire as tactics to displace authoritarianism, commodity culture, and the endangerment of subjective experience.

Drawing breath from experimental film pioneers such as Germaine Dulac and Maya Deren, Koebel situates writing and curating firmly within her creative practice, with examples including the catalogue essay “Color the Shadow” on Carolee Schneemann and programs she has curated as a Board Member of the Film-Makers’ Coop. She holds a BA in Film Studies from UC Berkeley and an MFA in Visual Arts from UCSD, and lives in Brooklyn.

Ellen Lake

Let’s not keep score, 2008, 1 minute

16 mm film & cell phone video combining black and white 16 mm film from 1941 and cell phone video, Betty and Josh hit tennis balls back and forth across the screen and across time.

I look forward to it, 2008, 1 minute

16 mm film & cell phone video a short conversation between two people sharing the screen, yet situated seven decades apart. Rotary phone to mobile phone, this brief exchange comments on the passing of time and the evolution of technology.

Ellen Lake received her MFA from Mills College in Oakland, California in 2002, where she studied sculpture, film and video, and installation. She is currently working on a body of work incorporating images from cell phone and digital media with clips from 16 mm films from the 1930s and 40s.

She is the recipient of Bay Area Video Coalition»s 2005 Mediamaker Award. “I look forward to it” and “Let’s not keep score’ are currently playing at Arizona State University Art Museum. Additional work from this series has been shown at the Walker Art Center, Exit Art, Crawl Space Gallery, Heaven Gallery, Green Gallery, Aurora Picture Show, Axiom Gallery, Antimatter Underground Film Festival and Madcat Film Festival.

Avery Lawrence

Matches, 2008, 38 seconds

The flame is the original symbol of civilization and the ingenuity of man. The match is its most portable, consumable form. Using hundreds of digital images these matches come alive. They populate. Overpopulate. And extinguish. Because of its anthropomorphic shape, the quotidian tool becomes the quotidian man.

Avery Lawrence, a recent graduate of the University of Pennsylvania with a major in Visual Studies, has had his work exhibited at the Charles Addams Art Gallery, Meyerson Art Gallery, Philomathean Society and Fox Art Gallery, all in Philadelphia. His editorial cartoons have won national awards and one of his short animations won first place at the University of Pennsylvania Juried Film Festival. Currently, he has been hired to illustrate a limited edition, re-printing of The Iliad and The Odyssey.

Kevin Logan

Recitation, 2007, 4 minutes 29 seconds

Recitation is an audiovisual piece examining oral traditions and their relationship with text based information and belief systems, in particular religious texts. It incorporates hand made and computer generated text / graphics and footage capture by a mobile phone camera. Inspired by and utilizing a poem by Jarmain Patrick, which was performed during a development week, which brought together visual, spoken word, and audio artists. This development week led to a number of short films commissioned by B3.Media, Brixton, London for the identities. TV project.

Kevin Logan graduated with a degree in Fine Art from Liverpool John Moores University in 1993. He worked in the North West of England as an installation / scenic artist and in 1999 gained an MA in Interactive Media Design and Production from LJMU. Following his post graduate study he began to concentrate on audio art and sound design for short films, which have screened in competition at Edinburgh International Film Festival 2003, Rotterdam International Film Festival 2004 and led to gaining a place at the 2nd Berlinale Talent Campus 2004, Berlin.

‘Recitation’ was commissioned by B3.Media, Brixton for the identities.tv project and has since been screened at Amsterdam Film Experience Festival 2007 and Transmediale ‘08, Berlin. He has recently had a video piece included in the exhibition ‘Surveillance’ at South Hill Park Digital Media Centre , and sonic works in the Velocity Festival, UK.

Mery Magsamen & Stephan Hillerbrand

Suspect, 2008, 3 minutes, 3 seconds

In Suspect, the green glow from a glow stick in our mouths illuminates portions of our bodies as we pass the glow stick back and forth. The audio is a layering of suspenseful and tense music that would be heard in a movie. By referencing night vision in an age of heightened homeland security this piece takes an absurd and sarcastic look at the excessive use of surveillance today.

The collaborative husband/wife team of Mary Magsamen and Stephan Hillerbrand have been working together over the past several years after meeting at the Cranbrook Academy of Art where they received their MFAs. Their work has been included in group exhibitions and screenings nationally and internationally including solo exhibitions at the Butler Institute of American Art and the Contemporary Art Center of Virginia.

Their work has recently been in group exhibitions/screenings at LA Freewaves Film and Video Festival, SF Camerawork, Houston Center for Photography, the Boston Center for the Arts and the Ann Arbor Film Festival. They were awarded the Lower Manhattan Cultural Council’s Residency in New York City at The Woolworth Building, a residency at the Experimental Television Center and an Ohio Arts Council Individual Creativity Award. Most recently, they received a Carol Crow Fellowship from the Houston Center for Photography.

Adál Maldonado

Mambo Madness, 3 minutes, 30 seconds

Music Performed by Gonzalo Grau
Produced by Strange Cargo Films

Mambo Madness unfolds in an asylum in Silencio City designed to resemble a night club that has been specially created to detain citizens that have been infected with clave: the erotic and propulsive rhythms that keep time on the dance floor of the imagination.

Born in Puerto Rico, Adál Maldonado is one of the most innovative and celebrated artists working today. As have many other artists/photographers of his generation (most notably Cindy Sherman, Robert Mapplethorpe, and Lucas Samaras) and due to his complex view of double identity, Adál has systematically explored identity issues to their ultimate consequences.

Adál is the author of, La Mambopera written during a Playwright-in-Residence at the Tribecca Performing Arts Center. Adál is also known for his collaborations with different artists. Adál conceived and directed Mondo Mambo which was presented in collaboration with Playwright/Poet Rev. Pedro Pietri, Tito Puente, and Eddie Torres at the Public Theater, NYC, and he collaborated with Ntozake Shange, creating the Photographic Environmental Design of the play Love Space Demands.

Julie Casper Roth

A Matter of Fiction, 2008, 3 minutes, 35 seconds

A Matter of Fiction is a study of truth in traditional documentary film. It takes a recognizable model of documentary film—the historical documentary—and alters it to demonstrate the vulnerability of supposedly reputable information. The result places historical scholars in a web of fictional banter about their own lives and indiscretions. Commentary that was utilized in an authoritative context becomes banal. This piece was born out of the artist’s own work in documentary filmmaking and her acknowledgement of the vulnerability of truth.

Julie Casper Roth is a video artist and filmmaker whose work has been presented at venues including the MadCat International Women’s Film Festival, Anthology Film Archives, and the Chicago Reeling Lesbian and Gay International Film Festival. Her work has also been shown at SCOPE New York, SCOPE Basel, and Artists’ Television Access in San Francisco. Most recently she was the 2nd place winner in the experimental category of the Athens International Film and Video Festival and is a 2008 recipient of the New York Foundation for the Arts’ Individual Artist’s Fellowship in Video. She currently resides in Upstate New York.

Chris Borkowski

Fleshmachine, 5 minutes

Chris Borkowski is a media maker from Buffalo, NY that is now living and working in New York City. He has worked professionally as video editor, network administrator, media arts center Technical Director, and University instructor in digital arts. He is a co-founder of the video art portal Perpetual Art Machine [PAM]. He has shown work internationally at various galleries and media festivals and has also performed a number of real-time audio and video pieces.

He like sunsets and long walks in the park, the shape of pixels, social climbers, hackers, misfits and charlatans. His favorite colors are RGB and finds name dropping and writing his own bio the biggest turn off.

Dan Boord & Luis Valdovino

Cocteau Cento, 2003 5 minutes 48 seconds

This experimental video takes the form of a cento—a literary work made up of parts from other works. It pays homage to the work of the poet, playwright, artist and filmmaker Jean Cocteau. Mixing footage from several of his films, writings from Cocteau and his contemporaries, and a sound design made up entirely from those writings, the self-reflexive nature of the tape explores many of Cocteau’s recurrent themes in the form of a cento: a collage of intensely personal poetic symbols which attempt to evoke the sacrificial nature of art and the relationships among poetry, myth, death, and the unconscious mind.

Based on a text composed by Laird Hunt, excerpted from Raymond Queneau’s L’Instant fatal, Jean Cocteau’s, La Belle et la bête, Orphée, Jean Follain’s, Paris, Danielle Collobert’s, Cahiers, andM ax Jacob’s, Le Cornet a des, Cocteau Cento, the video realization by video artists Daniel Boord and Luis Valdovino, is a patchwork of visual leitmotifs taken from many of Cocteau’s films. The text becomes a libretto as the reading is transformed into music by the composer Tom Wells. The sound track for Cocteau Cento is based entirely on the computer sound samples derived from the reading by Nicole Peyrafitte.

Dan Boord is a Professor and Luis Valdovino Associate Professor at the University of Colorado, Boulder. Exhibitions: The Museum of Modern Art, New York, The Metropolitan Museum of Art, New York, Venice Biennale, Venice, Italy, The Stedelijk Museum, Amsterdam, Holland, Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain, Centre Georges Pompidou, Paris, France, The Museum of Contemporary Art, Los Angeles; The Walker Art Center, Minneapolis; Centro Nacional de Las Artes, Mexico City, Mexico; Museo Nacional de Bellas Artes, Santiago, Chile; Berlin Video Festival, Berlin, Germany; Robert Flaherty Film Seminar and Toronto Film Festival, Canada.

Paul Rowley & David Phillips

Commonwealth, 2007, 4 minutes

Commonwealth examines ideas of social progress through re-visiting the Soviet Space program of the 1960’s, in particular Yuri Gagarin’s orbit of the earth in 1961. The importance of such events in shaping perceptions of what is good for a society, uplifting the spirit of a community, is examined in relation to the role of the individual figurehead, selected from the masses to represent the society internationally. Inspired in part by Hobbes’ writings on the Body Politic, and writings on the history of science, the piece examines ideas of governance and community, and the use of division in social models to create order.

A rich collection of visual references are brought together in building the piece; for example, Medieval frescoes, Soviet mosiac murals, the iconography of the space race, the visual language of progress, and the utopian architectures and designs of the World Fairs of the late 1960s and early 1970's.

Dublin born Paul Rowley and Memphis born David Phillips have been collaborating on film and video projects since 1998. Some recent exhibitions include Re:mote at the Photographers’ Gallery, London, Your chance to live at 300m3 in Gothenburg, the Kunst Film Biennial in Cologne, Fricción, at the Museum of Contemporary Art in Mexico City, Videonale at the Bonn Kunst Museum, and Bambi at the ICA in Philadelphia.

Recent festival screenings include the Impakt festival in Holland, and retrospectives at the Darklight Festival in Dublin and Prog:ME, the Rio de Janeiro Festival of Media Arts. They were awarded the Glen Dimplex Artists’ Award, the Irish Museum of Modern Art’s annual contemporary art prize, their short video Suspension was awarded a Golden Spire at the San Francisco International Film Festival and they were the recipients of the New Langton Arts Award for video.

Paul also won the Irish American Arts Awards, in both the under 35 category and the overall prize. They recently completed a collection of films to accompany a live performance of John Cage’s Sonatas and Interludes, and are currently working on a new multi-screen commission for LAX airport in Los Angeles, to be opened in 2009.

Rick Salafia

Run, 2007, 2:00 min.

This is a video composite of two Pulitzer Prize winning photographs from the end of the Vietnam War. (Original Photographs; Slava Veder (1973), Nick Ut (1972) )The appropriation of two well-known documentary photographs is an attempt to create a collision of the sympathetic and empathetic responses common to contemporary media images derived from war.

Rick Salafia received his BFA from the University of Rhode Island and his MFA from Rutgers. He has taught at Lehigh University, Carleton College, and Bucknell University. He is a sculptor, photographer, video and performance artist and teaches Design and Digital Media classes at Kutztown University. He lives in Kutztown with his wife Leigh Kane and their two children, Ezra and Fiona, as well as a number of pieces of wood that are too small to use but too large to throw away.

Stacia Yeapanis

It’s a video about sharing, 2 minutes, 24 seconds

Viral videos are now commonplace in our cultural landscape. YouTube is not just an entertaining website. It is a cultural institution. It continues to change the ways that individuals, both artists and creative non-professionals, participate in culture. In late 2007, the viral video 2girls1cup not only spread, but also led to the posting of thousands of reaction videos. The 2girls1cup phenomenon represents how YouTube connects its viewers in unexpected and intimate ways, despite being a public space. The pure inertia incited thousands of different people to record the reactions of their friends and family, many of whom had never watched a video on YouTube before.

All of us who watched the video were united in a cultural experience of the Abject, regardless of gender, race, age, nationality, or sexuality. The original video is now difficult to find online, which points to the ephemerality of Internet videos. The reaction videos, however, are still there and are freed up to become something more: metaphors for connection and documents of human emotion.

Stacia Yeapanis is a Chicago-based interdisciplinary artist. After receiving her BA in German at Oberlin College, she went on to receive her MFA from The School of the Art Institute of Chicago in May 2006. Her work has been included in the Museum of Contemporary Photography’s Midwest Photographers Collection, as well as the online Rhizome Artbase.

Yeapanis’ practice explores the philosophical significance of entertainment practices and cultural participation, from TV-watching to collecting, from crafting to gaming. Recent exhibitions include Henbane: Dialectics of the Feminine Sublime (Chicago, IL), Ladylike: A Proper Take on Feminist Art (Chicago, IL) and undercurrent(Claremont, CA). Stacia is an avid Buffy the Vampire Slayer fan and has just finished watching Season 3 of Weeds.

J.D. McPherson

Tractor Series: Stratotone—Sword of the Rockin’ Proletariat, 2005, 43 seconds

A short statement acknowledging the symbiotic relationship(s) between desire and necessity, vocation and avocation, work and play, Father and Son.

J.D. McPherson, Jr. was raised on a cattle ranch in Buffalo Valley, Oklahoma. Currently, his work focuses primarily on an idealized system of properties and mythologies surrounding a rural (or more specifically, rural Southeast Oklahoman) characteristic. Other prevalent current research issues in his work include material hierarchy, rote learning, and reactive processes in creative production. He currently works with video, installation, audio, painting, music, performance, drawing, and photography.

In addition to these practices, he also is the lead vocalist/guitarist/frontperson for The Starkweather Boys, a prominent roots music act. He currently makes his home in Tulsa, Oklahoma.

Jeanette Louie-Simon

Matter, 2008, excerpted 5 minutes

“matter“ explores the emotion of anxiety and presents its infusion into mundane life. Anxiety renders the world of a highly subjective mind. Viewers follow this mind’s stream of consciousness experiencing an odyssey of sights and sounds that straddle both a familiar and dreamlike terrain. The setting is the region of Ulster County in New York, which is an economically challenged area pitted with development. “matter“ is the first video of a compilation that will represent various portraits of streams of consciousness.

Jeannette Louie’s interdisciplined artworks explore the influence of perception upon the thinking mind. She has exhibited at Homie Berlin, Germany, the Urban Institute for Contemporary Art, MI, Mills College Art Museum, CA, Esso Gallery, NY, ISE Cultural Foundation, NY, Ace Gallery, NY, Spaces, OH, Sala 1, Italy and Alberto Peola Arte Contemporanea, Italy.

Her honors include a New Jersey State Council on the Arts Individual Fellowship, a Creative Capital Foundation Grant and a Rome Prize, American Academy in Rome. She is a recipient of fellowships from the Center for Photography at Woodstock, the Brodsky Center at Rutgers University, Yaddo, The Marie Walsh Sharpe Art Foundation Space Program, Roswell Program, Vermont Studio Center, Skowhegan School and Sculpture Space.