These interactive, multimedia installations engage the passive viewer as an active participant. Many of these commissioned, design-build spaces incorporate video, sound, books, real-time surveillance monitors, and distorted architecture. The immersive experience focuses the participants attention on questions about our meteoric journey through the Information Age, the ever-shifting modes of conveyance, and who ultimately controls the information we consume.
Scroll over image to PAUSE slideshows:
DISCARD/DISPLACE, 1996, Mutimedia installation, 10 x 15 x 30 feet (overall).
This room is built in forced perspective and all surfaces are covered with pages from discarded art history books. At the end of the table is a worn copy of The Arts and Man. When the viewer opens the book, a concealed video monitor displays only static and the accompanying sound booms through the space.
Suppressor, 1998, Multimedia installation, 12 x 16 x 16 feet (overall).
A vintage carnival tent is supported by a stack of text books balanced atop a Jack-in-the-Box. A small, automated doll slowly cranks the handle and the tune Pop Goes the Weasel drones from inside the box. The note for "pop" has been filed off the metal music cylinder, suppressing the tune's climax and leaving the weasel unfulfilled.
The Story of Modern Art, 1995, Multimedia installation, 115 x 33 x 92 inches (overall).
A custom-built school desk is realized three times the original size. When grown-ups sit in the seat, feet dangle off the floor as a child's might. A short silent film explains how The Story of Modern Art was disassembled, reorganized, and encased in the locked desk.
The Study, 2000, Multimedia installation, 10 x 10 x 20 feet (overall). Commissioned by the North Carolina Museum of Art for the exhibition Interiors.
In this installation, the walls, ceiling, and floor slope toward the small school desk at the opposite end of the entrance. All surfaces are covered with pages from vintage Encyclopedias. On the desk is a nondescript book. Concealed within is a monitor that reveals that viewer is under surveillance and effectively being forced into a swirling vortex of information.
Child Berth: That Which is Sown, 1995, Mixed media, 92 x 41 x 59 inches (overall).
Interpreting old sayings I grew up with: "You reap what you sow." / "You made your bed, now sleep in it."