birds

Birds 2014

Video Installation
13 Min
Projector & Directional Speakers

Photographic documentation & clip above


Birds is a video projected up into the ceiling corner of a room and accompanied by directional speakers that provide a sound component. In Birds, the dissected moving image folds the footage warping content and accentuates the peripheral surrounding. The manipulation of video into the sculptural form becomes a common motif within the artist's practice. The projection placement unites with the room's geometry and unique angles, to dissever the subject matter by playing with potentialities of creases and turns as it emphasizing the videos minimal architecture. By highlighting these intersections, a stage is carved out of the seams and edges of the exhibition space, exposing the unnoticed architectural nuance, and practical elements found in the footage itself.

The installation video depicts the artist in a contemplative union with three songbirds and a set of minimalist props in a bunker-like space. The footage reveals the artist in rapture with songbirds caught in her hands. This invocation is animistic and explores the spiritual significance of the tiny beings. These songbirds share features vocally in the way in which they produce their songs. Most of the acoustical differences, which they achieve, are due to the region and parameter of space where they operate. Their sounds become different in different areas; therefore, the chamber environment in which the birds are recorded captures their unique choir within the space. Their songs echo throughout the installation via a directional speaker only directed at a specific point of the room's architecture.

bobby and bailey

Bobby and Bailey 2015

Video Installation
23 min
Installation materials:
Artifact from installation,
photographs, video

Photographic documentation & clip above
Photography 2,3,6 Gillian Steiner


Bobby and Bailey is a video capturing a portrait of two strangers in a candid discussion. Bobby Andres and Bailey Styles cover topics like puberty, the language of gender identity, sexuality, all on camera in a testimonial fashion. The artist stages an installation in a pink neon-lit disheveled bedroom, while the conversation between the two ensues on a mattress in mess of trash, flowers, and glitter.

Between the pair, the exchange is at times blithe speaking about shopping or materialism. At other moments, their dialogue is pensive, presenting an intimate and spontaneous unpacking of issues like - gender role perceptions, visibility, to be trans-identifying in sociality gaze. As their conversation hashes an examination on crudity, detachment, and the isolation that occurs when faced in the world outside imagination.

The camera positon references a 1990’s nostalgia for MTV shows like Real World which depicted contemporary issues on people's minds. Capturing a from a point of unobtrusive observation, the footage focuses on documenting the emotional rawness of the characters while noting to the period "When people stop being polite... and start getting real..."

dont ask dont tell

Dont ask Dont tell 2014

Video Installation
9 min
Exhibition: Lonely Girl
Martos Gallery, New York, NY 2014

Photographic documentation & clip above


Dont ask Dont tell is a video portraying two masked individuals weaving into each other's limbs in a forest clearing at nightfall. The two figures are presented with their faces concealed and exposing their bare skin reveals a juxtaposition between an innate separateness from beyond and a deep-rooted sense of togetherness and belonging.

The camera is set back at a distance from the darkly lit scene and investigates a discipline of touch. Raw bodily choreography offers viewers moments of voyeurism in the ambiguously erotic footage. The mysterious partnership is both a peak and shadow into an unfolding private space, being isolated in such a way, the duo is presented as though they are not meant to be seen or known. The individual identities are covered but burrow their bare skin in the dirt with entangled appendages producing a curious tenderness.

The film accompanied by a poetic soundtrack that features vocals by Dan Bodan. The soundtrack is written by and includes the artist's vocals and speaks to topics that are forbidden.

Fish Club Soda 2014

Installation materials
Porcelain, acrylic, cowskin, plastic, fabric, cornichons, peppers, garlic, flowers, granite, metal, paint, found objects, hand-written texts

Exhibition: La Usurpadora
Abrazo Interno Gallery, New York, NY 2014

Photographic documentation above


Fish club Soda is an installation consisting of seven sculptures made from various materials such as rock, dried skin, food, plastic, found materials, found ceramic, resin, and latex. White ceramic chains and handwritten documents are also included in the installation.

Within the Borinquen traditional culture, there is a strong representation of marking history with an object in the material world. These token keepsakes are typically made of ceramics and paper flowers. Types of objects are symbolic commemorating a significant moment in life or ritual within a cultural tradition in one's life and would be collected and reflected upon linking to a point in time that has elapsed.

Fish Club Soda pays homage through the figurines themselves to the Caribbean and Afro-Caribbean deities of the artist's heritage. The sculptures and installation embody the spirits of divination, describe nostalgia for a practice, and with the assemblages, a view through the eyes of ancestors is built. The installation is a celebration of the present gifts of from the past, and salvaging from the erasure of a craft practice.

max

Max 2013

Video Installation
Projector & Glass panel
Exhibition: Interface
FJORD Gallery, Philadelphia, PA 2015

Photographic documentation & clip above
Photography, Sarah Coote


Max is an installation consisting of video that uses light abstractions layered over the human figure in an expressionist composite. Cradled between colors dialogue obscures forming moments of fragility against the glass plate on which footage is projected. Playing in darkness on an upright partially frosted piece of glass wherein the silhouette of the video floats out beyond the glass plate edges.

Within the sequence, the fusing separated layers and shots of the head and bust, brew moments of portraiture that show a capturing of beneficent vibrations. The artist's figure illustrates the form as a surface for drama and connection by coupling her partially exposed skin with rhythms curving light that actualize the body in a haze of monochromatic color. The animated fractals morph space and act as elements in a repertoire of jiggling movement in this surreal presentation of experiencing MAX, the state of revealing the physical presence of the self as a phenomenon.

send

Send, 2017

Video installation
Glass, Screen, Wire, Dirt
25 min

Evolutionary Urge (Virtual/Digital) Navel, Los Angeles, CA


Send is a video installation placed on the floor wherein a looped video plays on a screen underneath a dry soil covered piece of glass. Alongside the glass panel - carbon fiber wires spell out the phrase “Send” in a merged script. The video shows the artist filmed outside illustrating a sequence of words onto the same soil covered glass panel, just to cover it up again with soil making her written text disappear. The video footage is partially obscured by the dirt as she creates a repertoire of textual gestures that accumulate into a poem. In silence, a text appears through soft wet earth activating the space transient by finger-painting the invisible words.

dependency demographics

Dependency Demographics 2017

Performance
1 hour
Exhibition: Festival of Future Nows
Hamburger Bahnhof Museum, DE 2017

Photographic documentation above
Photography, Jonas Wendelin
PDF / Soundtracks below


dependency_demographics_info.pdf


giving.mp3


obedinece.mp3


reliance.mp3


stillness.mp3


viloence.mp3


Dependency Demographics is a performance and installation progressing through Hamburger Bahnhof originating outside the back of the museum and concluding in the front garden. Occurring twice within this space, one cycle of the performance spans the entirety of the main hall.

Dependency Demographics is a collaboration with Jonas Wendelin which reappropriated a past performance of Teachworth’s titled Cultural Shock, wherein a cell phone with 3D rendered video of the performers face appears taped to the head. A company of five performers with the digital embodiment migrate two aluminum architectures (travois) transporting a multitude of blue ceramic vessels by Wendelin through Hamburger Bahnhof Museum. Their journey presents a nomadic choreographed performance and installation depicting a fictional, forthcoming yet prehistoric narrative of geopolitical trajectories.

When placed in a public context the element of the cellular device adhered to the skull functions as both a visual and audio mechanism, describing the narrative of each character story as well as chorographical guidance to the performer and surrounding audience members. The gesture of forcibly tapping the device on the head causes limited visibility, reconfiguring natural body language and inhibiting the performer to use sight as a guide. Over the course of one hour, 5 performers are each responsible for the observance of their own unique states listed as follows -

Obedience
Violence
Giving
Reliance
Stillness

The performer's fictional digital testimonies were written by Teachworth and created with each performer. Projections of disembodied heads were enlarged on the walls, laughing. Texts are fragmented with personal lyric and recorded interviews, at times synced by collective laughter and shared a dialogue on past/future realities and the relationship between a bodily experience and the social experience of technology.

The troupe has a choreographed pathway with the architecture's, but once a camp is set a concoction referred to as The Colony is prepared and offered to the audience to consume. The Colony is an unidentifiable white liquid blend of flavor and texture invented by Wendelin and Teachworth.

Included performers: Spencer Seblan, Katrice Dustin, Daniela Schmidtke, Jonas Wendelin, Kathrin Messerschmidt

cultural shock

Culture Shock 2017

Performance
15 min
Exhibition: Making some words
Changes Gallery, New York, NY 2017

Photographic documentation above
Photography, Harry Hughes

Sound file below


culturalshock.mp3


Cultural Shock is a performance in which the artist enacts a fictive monologue via a cell phone taped to her face, reframing the human form into a digital installation. Transparent duct tape adheres the device to the performer's head exhibiting a reappropriation of the phones use, as a tool for communication. A reconfiguration of the device presents the interface as a space for psychological investigation and public presentation.

The attached cellular device should be viewed as a future prosthetic as the eyes of the performer are taped shut, essentially being blindly instructed by the new alternate crude demanding body part. The taping of the skull is fragile and aggressively violent examining the materiality of the skin, hair, and facial features exposing the vulnerability flesh beneath.

On the phone, a video animation of the performers 3D-rendered face describes a dystopian tale assuming the role of storyteller to the audience. The embodied digital persona affixed to the head articulates dialogue and physical actions dominating over the human carrier as an insignia of our current place with technology. In Cultural Shock, the digital identity instigates an intimate interaction with audience members by getting unsettlingly close and commands the body into lowering physical acts such as kneeling, crawling, and peeling oranges that are handed out for consumption.

conjure migration

Conjure Migration 2016

Performance
35 min
Exhibition: Berlin Biennale 9
Kunst-Werke Institute for Contemporary Art, DE 2016

Photographic documentation and
Video components above
Photography, Maansi Jain
PDF / Soundtracks below


colors.pdf


black.mp3


green.mp3


lavender.mp3


orange.mp3


Conjure Migration is a performance occurring on a cruise boat traveling down the Spree river through Berlin's city center as part of the performative program of The Berlin Biennale 9.

Upon entering the ship, each audience member receives a detachable cotton polo shirt collar designed in collaboration with designer Telfar. The collars come in four colors: black, green, orange, and lavender. The four colors represent four fictive characters. By wearing the collar around the neck, each participant is visually acknowledged as their color persona while the entire audience collectively transforms into a unified group identity.

Boundaries between performers and audience are lost by the mandatory mutual wearing of the collar accessory. The act of being collared and labeled implies ownership and designates the characters described below. Each character's story is told in the following consecutive order during the performance.

Black - Slave
Green - Developer
Orange - No one
Lavender - Freelancer

During the performance, four performers and the artist, enact choreography on stage. One by one the four staged performers assist the artist in migrating her multifaceted character titled, The Conjuror from each color's fictive story to the next. The choreography they employ examines autonomy within the transformation: Positions like forced actions, wandering, aggression, and passivity, movements that reenact and reclaim lost the history of the characters.

As the performers unpeel the different layers of masks and shirts from the conjuror's figure and the eventual shedding gestures leave all four colors stories told through the narratives expressed in a soundtrack played concurrently. A verbal score made up of the artists transformed vocals created in collaboration with Aaron David Ross narrates the four characters interpretative journeys identifying each color with distinctly different tone.

Included performers: Claudio Campo Garcia, Tarren Johnson, Kat Hernandez, Hrefna Hörn Leifsdóttir

unwrapped

Unwrapped 2014

Performance
Exhibiton: Art Basel Miami, Art Fair Miami, FL 2014

Photographic documentation & clip above
Photography, Naomi Fisher


Unwrapped is a performance where the artist's body presented in front an audience entirely tied up in a multitude of white ribbons that extend from head to toe. The release of the physical form requires the act of un-tying the fabric from selected audience members by hand and illustrating intervention from confinement. The audience members unravel the ribbon at their discretion ultimately revealing the entire surface of the body. This was a live-streamed performance that could be seen in real time.

The artist restrained form is a tedious presentation that entirely crumbles as the undertaking ensues over the course of an undefined amount of time, be it however long it takes for audience members to execute the unraveling in totality. The 2-inch area surrounding the human form is transformed into haptic space and the figure is metamorphosed in a pillar for collective movement. Knot by knot, tie by tie, with each active gesture of undoing, the fabrics hold decays embedding choice within the crowd and illustrating intervention that becomes a unifying un-capturing the human form.

technological trust offer

Technological Trust Offer 2013

Performance
Exhibition: Blasting Voice
Suzanne Geiss Gallery, New York, NY 2013

Photographic documentation & clip above
Photography, Todd Weinstein

PDF


script.pdf


Technological Trust Offer is a performative work that integrates several elements such as video projection, conversational dialogue, and sculpture into one performance. The artist is presented on a stage conversing with a scripted algorithm, a chatbot that impersonates human perception on the nature of its understanding of human emotions like empathy, and death. The development of this narrative over time questions the ethics of our technology and futures of labor. Simultaneously a jarring video is projected wherein the artist’s body is entirely covered in plastic seated on the roof of a building ostensibly disrupting the colloquy on stage. The transparent sheeting covers the whole head/body indicative of a suffocation or death encounter where one might experience shifting between states.

During the discussion with the digital consciousness, the artist builds sculptures composed of white flowers and glass water bottles spraying them with a cemented spray paint that hardens. The spontaneous bouquets visualize ephemerality, decay process, and change in all material. This performative gesture illustrates transformative deliberated alchemy. These sculptural floral arrangements they become forever preserved, shielded from the procession of time while the conversation references the subject matter discussed with the bot. The sculptures are then handed out to the audience to keep.

battle against inertia

Battle Against Inertia 2012

Performance
20min
Exhibition: Four minutes, thirty-three seconds
Legal Art Space, Miami FL 2012

Photographic documentation above
Photography, Kerry McLaney


Battle Against Inertia is a performance where the artist is hanging from the ceiling engaged in the act of public suspension by a harness device of her contrivance. To battle against inertia is a protest against the inability to move. Over the course of time held in an elevated position, the artist reaches the point of unconsciousness unbeknownst to the audience and is taken down after a defined amount of public observation focused on the hung figure has occurred.

An unspoken rapport takes place with the viewers who witness. The contemplation and the uncertainty of why the body is hung is a simulation reflection on the human fascination over the spectacle of viewing the body in a state of suspense. In this sense, the gesture alludes to the historical act of a hanging, wherein the public witness a form that will never activate or experience again as it no longer holds life. This gesture calls on the point in time that depicts the pacified moment of stillness that remains hanging after energy has been separated from the physical form.

endless movement

www.basicbeing.me/endless

Endless Movement 2016 & 2012

Website
www.basicbeing.me/endless

Exhibition: Like New Landscape
Pablo's Birthday Gallery, New York, NY 2014

Photo stills above


Endless Movement is a website displaying multiple videos that endlessly loop with a score by Arca, comprised of the artist's vocals. The site continuously plays the footage regardless of a viewer's presence negating focus on the progression of linear time. In the absence of a marked beginning or end, a user can arrive at any point in within the sequence of footage. The eternal channel transforms the site into space for contemplation and a practice of cyclical exercise.

One section shows the artist on a mound of minerals engaged in multiple forms of choreography with a chair, investigating positions and the object's placement/function on the ambiguous amassed pile. Another section of footage subsequently revisits the same site three years later with the artist, a new chair and the addition of a new figure, Jonas Wendelin who is seen similarly wandering through the landscape in similar choreography. The footage holds an endless renegotiation of the container's physical topography. As a meditation Endless Movement recounts things which happened, which almost happened, which were and could have been; it is a testament to the trillions of possible pasts and futures for as long as it's online and has viewership.

basic being

www.basicbeing.me

Basic Being 2014

Website
www.basicbeing.me

Exhibition: A New Domain Suzannegeiss.net
Suzanne Geiss Gallery, New York, NY 2014

Photo still above


Basic Being is a website depicting a 360 degree - 6 sided rotating cube with various video surfaces displayed on each side. The point of view for the user is placed in the center of the cube with verticals that can be moved into different arrangements. The user can shift the space with the cursor in any direction, turning multiple vantage points of the cube presents a rearrangement of the composition of moving image while inside the site.

One view of the footage captures adolescence girls standing in formation on the shore looking toward the horizon in a post-pubescent transformative stare. Within this moment of wonderment, there is an acknowledgment, a happening of both passivity, and adventure, in the act of throwing rocks. Other views of the virtual landscape depict a dissection of the sea waves ripping at the ground beneath. Within this specific work and the artist's practice, there is a running theme of manipulating video into a sculptural form by transforming space into something flexible and multi-dimensional.

Merge 2014

Website
www.basicbeing.me/merge

Exhibition: Zero One
Stream Gallery, Brooklyn, New York 2014

Photo stills and clip above
Advised use of headphones


Merge is an interactive website presenting a portrait of the artist. A beam of light follows the movement of the cursor, luminously highlighting the figure in an ominous bedroom scene forming a correlative relationship between user and the subject matter. The user is allowed a glimpse into a highly personal experience accompanied by an intense soundtrack that builds notes of chaotic interruption.

In the absence of language, the site captures the artist's observation between the thinness of unseen and perceived. While the beam of light emanates from the point of focus, the anarchical sound imbues progressing into a élan of heavy breathing, screams, and hums in the amalgam of this violent composition. The soundtrack that completes this website is extremely confronting and can be very loud, advised use of headphones for an intimate experience.

secrets and lies, 2017

www.cognitivesynergy.net/glove

cogintive synergy

www.cognitivesynergy.net

Cognitive Synergy 2012

Performance & Website
cognitivesynergy.net

Exhibition 1: Next Time One Already
Triskelion Arts, Brooklyn NY 2012

Exhibition 2: Next Time Two Almost
Whitebox Art Center, New York NY 2012

Photo stills & clip above


Cognitive Synergy is a performance spanning the duration of multiple exhibitions. Over a period of 34 days, commencing at the show - Next Time One Already, and concluding at a second show - Next Time Two Almost, Cognitive Synergy ensued. This performance signified a process of observance and analysis of the cognitive foundations upon which we are built.

The act of performing was defined by a ritualistic documentation of the self that took rigorous record of the artist's life experiences in totality - thoughts, routines, meals, movements, sleep, self-realized experiments, etc. The objective of the record taking was to reach a synergy the elements- obscurity, urges, automation, order vs randomness. After a month of performing the by-products were organized, condensed, and reconstructed into personal artifact and displayed on a website. Questioning how privacy impacts the psyche under a shared media existence, a myriad of digital tools like Twitter were habitually used to record detailed accounts of said experience, producing a flow of conversation and connected web of information that culminated. The site contains links, videos, and a cylindrical poem (operated to move by the horizontal arrow cursors self-published on CognitiveSynergy.net

This type self-archaeology generated data, and a state which artists defined as, Existing Self - The human as a feed. Existing Self, the twitter account recorded cognition that was accessible to its audience/followers in real time. This continuous stream of information could not be separated from the flow of time while the performance was in procession. What remains is an extensive collection and preservation intimate and banal personal information from within the time period. Forcing the self to process and share thoughts/actions publicly was an inner excavation revealing self-desires, motivations, abundant emotion, and the unexpected.

Jump 2012

Website
www.cognitivesynergy.net/jump

Photo stills above


Jump is a website containing footage of a landscape near the artist's place of birth frequently revisited. A sentence “Such a state of things cannot always exist” runs underneath the video illustrating the moment in which we presently live in is a singular now. The development of memory of action within the site signifies the impermanence of surrounding lending perspective on fleeting nature.

A narrative breaks the footage into three parts. Jump examines the environment as it was then, a day in 2012. Clouds streaming across the sky, water, forest, the act of swimming are only able to experience on that day within this delicate ecosystem and singular moment of time. This site stands a stewardship for developing a more profound relationship with the capricious elements lost in futures to come.

all that she wants

All That She Wants 2016

Short film
10min
Mexico City, Mexico

Press

i-D VICE
i-d.vice.com…

The Fader
thefader.com…

THUMP
thump.vice.com…


All that she wants is a short film written and directed by the artist with a musical score that incorporates a covered version of the 1992 Ace of Base song, All that she wants, by musician Lafawndah.

‘All that she wants’ is the reinterpretation of an already familiar song. The short film portrays the journey of a person who finds themselves becoming alive again. This enigmatic tale describes a situation where one might be dead or perhaps even both alive and dead at the same time. The portrayal of the main character is a particular journey and an allegory of reclamation and the processing awakening.

Nameless, the main character played by writer and artist Masumi Rioja arises from underground and pushes against the portrayal of assigned gender roles and stereotypical tropes, crafting a new archetype both hero and heroine. The narrative sparsely speckled with subtitles forms moments filled with sorrow, and loneliness but ultimately speaks to the glamor of autonomy and a perseverance of the right to be one's true self under any consequence.

By re-framing the question, what is... All that she wants? There is an attempt to reconfigure the notions of what's asked and expected of us through the twisted rebirth tale. Encounters blur, underlying social concepts relating to interpersonal relationships and their meanings are tangled. Through visual language, the film aims to capture and rediscover representation of those who live nonconformist identities while paying homage to displaced individuals who, for many reasons, have marginalized personal histories.

Score: Lafawndah
Cast: Masumi Rioja, Roberto Sanchez, Bree Zucker, Manolo Lira, Oscar Trevino, Tomas Sanchez
DP: Maria Tejeda / EP: Juan Villarreal

prints and various

Prints

Drawing

Book

Photo

Collage

Research


The creation of prints, drawings, and works on paper have been a consistent part of the artist's practice as she holds a BFA in printmaking/typographical design. These works often embedded with language present figurative storytelling using a myriad of techniques such as screen printing, drawing, etching, and photography.

The creation of visual imagery coupled with the process of bookmaking illustrates a substantial relationship between writing and the textual image. The letterpress prints hint on periods in time and become records of personal history that also happen to be graceful objects. You will also find research on the sculptural form using various materials such as glass, resin, plastic, and natural materials.

battery life on dis Images, 2017

about

relevant

clonezone