COLLISIONcollective

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Pulse Machine

Kick drum, solenoid, flip digit numerals, Arduino microcontroller, mixed media
2012
Pulse Machine

This electromechanical sculpture was “born” inNashville, Tennessee on 2 June 2012. It has beenprogrammed to have the average human lifespanof babies born in Tennessee on that same day:approximately 78 years. The kick drum beats itspulse, and the mechanical counter displays thenumber of heartbeats remaining in its lifetime. Aninternal, battery-operated clock keeps track of thepassing time when the sculpture is unplugged. Thesculpture will “die” when the counter reaches zero.

Garden Attire

Mixed media
2015
 Garden Attire

In the mouth of a snake we see the Garden of Eden with Adam and Eve walking by. When they bite the apple that calls to them from the tree of knowledge, God inflicts a new dress code policy and the annoyed duo exit in a huff.

Mimic

collected plant materials, mixed media
2014
Mimic

Mimic is part of a series that attempts to imagine the growing influence of cell tower proliferation onto living things - and vice versa. This work was originally conceived as a prop for an in-progress video work that plays against one such future scenario where cell towers are recognized as an invasive species. Mimic is essentially meant to prompt those questions, “What are these things? Why are they sprouting up everywhere? What do all those parts do? Are they transmitting or receiving?”

Future Hat

Mixed media
2014
Future Hat

Future Hat is a work of art that explores notions of futurism during three periods of rapid technological change: pre WWI late industrial revolution, post WWII analog electronics revolution, and early 21st century digital electronics revolution. This is accomplished by combining iconic technologies and aesthetic elements from each era into a single multimedia artistic experience. From the Industrial Revolution, the piece incorporates zoetropic motion pictures, the top hat, and The Futurist Manifesto of the Hat by Filippo Tommaso Marinetti. From the mid-20th century, it include an analog electronic record player and imagery from the space race. Finally from the 21st century, Future Hat present LEDs, modern electronics, digital photographic reproductions, and the hacker esthetic of repurposing technology to create boutique electronic devices.

Future Hat consists of two parts, a hat and a stand. The hat displays stroboscopic animation when spun either by the motorized stand or, for maximum interactivity, a wearer of the hat. The stand produces audio and spins the hat.

The Hat

A white top hat with a six inch crown has been created with three sets of twenty-four sequential images, of two Apollo space launches and an archer shooting an arrow. Embedded in the brim of the hat are a series of LED lights which strobe when the hat is spun. This causes the sequential images to animate, the rockets to appear to launch and the archer to appear to shoot. The strobe lights are controlled by electronics and powered by batteries concealed in the crown of the hat allowing it to operate independently of the stand. It can be comfortably worn by a patron and if the wearer of can spin at close to 33 1/3 RPMs, onlookers can view the animation.

The Stand

A mid-20th century portable record player and a record have been used as the base for the stand. Mounted at the center of the record is a tall shaft on which the hat sits. The record is a custom printed vinyl recording of a new reading of “The Futurist Manifesto of the Hat.” When the Stand is activated, the record plays the manifesto and the hat displays its animation.

Nude Descending an Escalator

Mixed media
2014
Nude Descending an Escalator

Another in a series of “video diorama” pieces similar to the ones that I have included in other Collisions shows. This one is even smaller and includes (as you might have guessed) the image of a nude (myself) descending what looks like a tiny glass escalator.

See video

Peeping Kong

mixed media
2013
Peeping Kong

Sometimes a banana is just a banana.

Light Mobile

Mixed media sculpture
2012
Artwork by [user-name]
Artwork by [user-name]
Artwork by [user-name]
See video

The Zoeusel

Mixed media controlled by an Arduino microcontroller
2007
Artwork by [user-name]

In recent years my major area of scholarly study has been the origins of film in the “age of wonder” and specifically the motion studies of the 19th century photographer Eadweard Muybridge. One of the extraordinary things about the technological revolution that
occurred at that time is that so much of the technology that was created was both wondrous and understandable. In Zoeusel I have used modern technology to recreate that sense of wonder wall basing the project on the easily understandable principal of persistence of vision. My intention is to first amaze and delight my audience and second to allow them the rare, in contemporary times, pleasure of coming to understand for themselves the underlying principal employed.
The magic of the carousel horses coming to life is achieved by breaking the motion of a galloping horse down into twelve recurring steps and then recreating those steps as twelve sculptors on the carousel. When a patron spins the carousel it cases a small strobe light to flash in precise coordination with the passage of the horses. Thus the faster you spin the carousel the faster the strobe light flashes. The affect is to present the twelve steps of the gallop individually to our brains and in raped succession. Because each step of the gallop persists in our vision in till the strobe flashes again and presents us with the next step of the gallop we see one horse galloping instead of 12 horses spinning.
The horses on the Zoeusel are modeled directly on the successive still photographs of a horse in motion taken by Edweard Muybridge in the 1880s as part of his motion studies. The original photographs are reproduced as a film on a monitor which is built into The Zoeusel. Each time the strobe light flashes a new frame in the film is presented on the monitor. This elegantly demonstrates the role of persistence of vision in film.
As an artist what I enjoy is that all of this is much more easily and enjoyably understood by playing with the Zoeusel then by describing it in words. Furthermore even without understanding of the underlying principle there is still persistence of magic.

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