birds

Birds is a video projected onto a ceiling corner of a room. In Birds the projection of the moving image is apart of a recurring practice of manipulating video content into sculptural form. The projection placement uses a room's geometry and unique angles to dissever the subject matter playing with arrangement possibilities and putting an emphasis on the videos depicted minimum architecture. By highlighting the intersections, a stage is carved out of the seams and edges of the exhibition space, exposing unnoticed architectural nuance, and practical fundamental elements found within the footage.

The video depicts the artist in an ethereal interaction with three songbirds and a set of minimalist props in a bunker-like space. The footage holds a glimpse of the artist communicating with the songbirds held in her hands. Songbirds share main features vocally in the way in which they produce their songs, most of the acoustical differences that they can achieve are due to the region in parameter space where they operate. Their songs echo throughout the installation via direction speakers that are only heard at certain points of the room's architecture.

Birds 2014
Shorten clip and photographic documentation above
Video Projection
Duration of film: 13min
Material: projector & directional speakers


bobby and bailey

Bobby and Bailey is a video displaying portraits of two artists. Bobby Andres and Bailey Styles are filmed in a discussion on the language of identity, queer sexuality, economic poverty vs wealth, and American class issues. Staged in a pink neon-lit disheveled bedroom, they converse on a mattress in a mess of trash and flowers - an installation created by the artist.

The conversation at times light, and others times pensive presents intimate gaze of two strangers spontaneously unpacking taboo topics like how gender roles effect children and what it means to be visibly queer or trans identifying in sociality gaze. The film aims to showcase and pry open issues that are not openly discussed.

Between the pair, an up close and personal style of camera work references the 1990s aesthetic idealisms of MTV tv show Real World that depicted contemporary issues of the time with young people. The two subjects are both strangers to each other but by using this documentary style the footage focuses on capturing the rawness of the human condition noting to the early reality TV genre. The conversation surrounding points attention to the fragility created from decades of focus on materialism and the ambivalence of gender politics.

Bobby and Bailey 2015
Video
Duration of film: 23 min
Shorten clip and photographic documentation above
Photographs 1&2 Gillian Steiner


dont ask dont tell

Don't ask Don't Tell is a video portraying two masked individuals weaving into each other's limbs in a forest at nightfall. The two figures presented with their faces concealed yet exposing their bare skin manifest an innate separateness; the obscured appearance reveals the female duo as though they are not meant to be seen. Raw bodily choreography offers the viewer this voyeuristic mysterious moment of isolation in partnership with the unfolding exoticism of the pairs private embrace.

The camera is set back at a distance from the macabre scene of the headless individuals while their raw limbs are planted in the earthly ground surrounded by setting darkness and dirt further producing the feeling of seeing what is somehow forbidden. Bare skin, arms, and legs entangled in this occult homage to exploring a reimagined image of feminity and the intrigue of viewing a curious or identifiable situation. The film is accompanied by a soundtrack/poem that features vocals by Dan Bodan.

Don't ask Don't tell 2014
Video
Duration of film 8.35min
Exhibition: Lonely Girl, Martos Gallery, New York, NY 2014
Shorten clip and photographic documentation above


max

Max is an installation consisting of video footage that uses abstractions of light that overlay artist's figure in a painterly way. The film is projected onto an upright partially frosted piece of glass wherein the silhouette of the video floats out beyond the glass plates edges. Within the work, the artist uses her figure to illustrate the body as an underlining canvas combining her partially exposed skin with rhythms of shadow patterns and jiggling curves of light fractals that become object and actualize her form in a haze of monochromatic color.

Within this work, abstraction becomes a showcase and capturing of beneficent energy that appears when meeting the simplified nude human form. The bust-shots-showed from the shoulders up present a very up close frontal portrait brewing separated images of the head that fuse. The disembodied layers animate morphing into a repertoire of movement in this surreal presentation of self-experiencing MAX a tracing and reclamation of the artist's ethereal visions.

Max 2013
Video installation
Duration of film:
Exhibition: Interface, Fjord Gallery, Philadelphia, USA, 2015
Shorten clip and photographic documentation


send

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.

Send 2017
Video installation
Duration of film: 25min
Materials: Glass, Screen, Wire, Dirt
Exhibition: Evolutionary Urge (Virtual/Digital) Navel, Los Angeles, CA 2017


culture shock

Cultural Shock is a performance in which the artist enacts a fictive monologue via a cell phone taped to the performers face reframing the human form into an interactive installation. Transparent duct tape adheres the device to the performer's head exhibiting an inversion of the use of the phone as a tool of communication, reconfiguring it creating a metaphor for a new kind of interface for psychological presentation.

The attached cellular phone can be viewed as a future prosthetic as the eyes are taped shut, and the performer is blindly instructed into movement by the video footage being played. The taping both fragile and aggressively crude, displays the materiality of the skin, hair and facial features examining the vulnerability of our body in this violent control gesture.

On the phone, a video animation of the performers 3D-rendered face narrates a story creating a transformed digital identity representing a new embodied digital persona. The videos dialogue articulates physical actions and dominates over the performer as insignia of our current place with technology. In culture shock, the digital identity instructs the body into physical acts such as crawling, kneeling, peeling oranges that are handed out for consumption and instigating an intimate interaction with audience members by getting unsettlingly close.

Cultural Shock 2017
Performance
Duration: 13min (dimensions variable)
Exhibition: Changes Gallery, New York, NY 2017
Photographic documentation above
Photography Harry Hughes


conjure migration

Conjure Migration is a performance occurring on a cruise boat traveling down the Spree 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 coming in four different colors. By the act of wearing a collar, each participant is visually acknowledged as a persona of each color while the entire audience collectively transforms into a unified group identity. Each color refers to four fictive characters being revealed throughout the performance:

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

Five performers, including the artist, enact choreography on stage. The choreography they employ examines liminal relationships between the states of each character's narrative and a transition into becoming a new color/character. Boundaries between performers and audience are undefined by the collective wearing of the collar accessory. The four staged performers assist the artist in migrating her multifaceted character titled, The Conjuror from one color's fictive story to another. The performer's unpeeling layers of different masks and shirts from the conjuror eventually leaving all four colors revealed through the narratives expressed. A verbal score made up of transformed vocals created in collaboration with Aaron David Ross narrates the four characters journeys interpreting and identifying each color with distinctly different tone.

Conjure Migration 2016
Performance
Duration: 25 min (dimensions variable)
Berlin Biennale 9, Kunst-Werke Institute for Contemporary Art, Berlin, Germany, 2016
Video footage is included in the performance
Photographic documentation above
Photography Maansi Jain, Kunst-Werke Institute for Contemporary Art


colors.pdf


unwrapped

Unwrapped is a performance where the artist's body is entirely tied up in a multitude of white ribbons that extend from head to toe and is placed in front an audience. The release of her physical form requires the act of un-tieing the fabric which embeds subjectivity within the audience and illustrates intervention from confinement. Viewers unravel the ribbon at their discretion ultimately revealing the entire surface of the human form.

The artist restrained presentation entirely crumbles as the undertaking ensues over the course of an undefined amount of time, that time being however long it may take for audience members to execute the unraveling completely. One by one, knot by knot, and tie by tie, the element of the fabrics confinement decays within each active gesture creating a unified group of strangers all working together on the form. The vulnerability of the performer is put on display as its transformed into haptic space when the physical body stands a pillar for collective movement.

Unwrapped 2014
Performance
Duration: Variable
Exhibition: Miami Art Basel Art Fair, Miami Florida 2014
Clips and photographic documentation above
Photography Naomi Fisher


technological trust offer

Technological Trust Offer is a multimedia performance that integrates diverse elements such as video, sculpture, and performance. The artist is presented on a stage conversing with a machine, a chatbot - algorithm system on the nature of its understanding of human emotions, empathy, and death.

During the discussion, the artist builds sculptures on stage out of white floral bouquets, glass water bottles, and cement spray paint. The sculptures built visualize ephemerality and the decaying process of change within all natural material. By spray painting the arrangements with cement paint, they become forever protected from this process as well as reference the subject matter being discussed with the bot. The sculptural pieces then are handed out to the audience to keep.

Simultaneously, projected video footage shows A BigDog, and Man robots created in 2005 by Boston Dynamics for DARPA used in military combat. A second sequence shows a seated body on the roof of a building in the daytime. The nude form is wrapped and taped up in a stranglehold by a large sheet of plastic, indicative of struggle or a suffocation experience resembling the process of being under construction.

Technological Trust Offer 2013
Performance
Exhibition: Blasting Voice, Suzanne Geiss Gallery, New York, NY 2013
Shorten Clip, photographic documentation Susan Geiss gallery, and Todd Weinstein


script.pdf


battle against inertia

Battle Against Inertia is a performance where the artist is hanging from the ceiling engaged in an act of public suspension by a harness device of her own contrivance. Over the course of time held in this elevated position, the artist reaches the point of unconsciousness unbeknownst to the audience, taken down after a defined amount of public gazing has occurred.

The presentation reveals an uncertainty and stands as a reflection for the viewers who observe. The audience who enter this space participate in a historical dialogue on the spectacle and collective fascination of viewing the human body in a state of suspense. An unspoken rapport takes place, contemplating why this person might be hung in a seemingly empty large industrial space. By performing this act there is a point of time that is being referenced where one could stumble upon the aftermath of a public hanging as a demonstration.

Witnessing the body recalls to the act of public hanging as a means of execution or orders of justice embodied by a society given authority. In this sense, the act of being put to death by suspension, wherein the body would not remain hanging but is a temporary performative action that demands to watch becomes sensational, even entertainment. This piece particularly depicts the pacified moment of stillness left in a hanging body after a hanging event has been carried out upon the physical form.

Battle Against Inertia 2012
Performance
Duration: 25min
Exhibition: “Four minutes, thirty-three seconds” Legal Art Space, Miami Florida 2012
Photographic documentation above
Photography Kerry McLaney, Legal Arts Miami


basic being

www.basicbeing.me

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. The viewer can move the space any direction to see multiple vantage points of ocean imagery presenting a seascape of compositions and various video angles while inside this vision of infinite scrolling waves.

One view of the footage captures adolescence girls in bikinis standing on the shore looking toward the horizon in a post-pubescent transformative moment, while other sides of the virtual landscape depict a dissection of tides of the sea ripping at the coastline. The theme of bending video into a sculptural medium within the artist's practice alludes to the notion of physical space being flexible and multidimensional.

Basic Being 2014
Website: www.basicbeing.me
Exhibition: Suzannegeiss.net, Suzanne Geiss Company Gallery, New York, NY 2014
Photographic documentation above


Merge is a website that presents a narrative portrait of the artist filmed in the reflection of a mirror in an altered state. The interactivity aspect of the website creates a light within the physical space, an undefined bedroom while an intense soundtrack overlayers the video. By moving the cursor a layer of light tracks the viewer's movements luminously highlighting the ominous scene.

The light beam floats into the bedroom window while a progression of anarchical sound imbues. Heavy breathing, screaming and humming blend into an eerie, at times violent composition. A second sequence shows the artist gazing into a mirror bending between different realities and playing marble solitaire. The progression reveals an encounter that builds a bridge between the fluid world the invisible, a divination ritual employed throughout her practice.  

The soundtrack that completes this website is highly confronting, can be very loud - advised use of headphones for an intimate personal experience.

Merge 2014
Website: www.basicbeing.me/merge
Exhibition: Zero One, Stream Gallery, Brooklyn New York 2014
Photographic documentation above


endless movement

www.basicbeing.me/endless

Endless Movement is a website showing multiple videos endlessly looping with a score by Arca in accompaniment with the artist's own vocals. The site continuously plays the footage regardless of the viewer's presence in an attempt to negate a focus on the progression of time. With the absence of a beginning or end, the user can arrive at any point, viewing any moment within the evolution of the footage displayed. The page transforms into space for the contemplation on the endlessness of cyclical experience and the practice of ritualistic exercise.

One section shows the artist on a mountain of minerals carrying a chair, engaged in multiple forms of choreography, investigating positions, and questioning the item’s function on the post-industrial mound.

Another section of footage subsequently revisits the same site three years later with the artist, and a new character, Jonas Wendelin seen wandering through the landscape in continuity by enacting a repetition of similar choreography. Within the footage, there is an endless renegotiation of space almost like ants on a hill moving about. This repeated exercise is a meditation that produces an actual movement for things which happened, which almost happened, which were and could have been; a testament to the trillions of possible pasts and futures for as long as it's online.

Endless Movement 2013 / 2016
Website:
Exhibition: Like New Landscape, Pablo's Birthday Gallery, New York City 2014
Photographic documentation above


secrets and lies, 2017

www.cognitivesynergy.net/glove

cogintive synergy

www.cognitivesynergy.net

Cognitive Synergy is a performance spanning the duration of multiple exhibitions. Over a period of 34 days, commencing at the exhibition - Next Time One Already, and concluding at a second exhibition - Next Time Two Almost, Cognitive Synergy was produced. This performance was an observance and analysis of the cognitive foundations upon which we are built and use daily. The performance lasting a little over a month recorded life experience - all thoughts, routines, experiments, and formed the results into content to develop proof and an understanding of how privacy impacts the psyche under the present conditions of the shared media existence.

The artist habitually used a myriad of self-expression and self-organizational apps/digital tools to record a detailed account of her all personal experiences within the devoted time span came to produce a string of continuously connected information culminated on the website. What is expressed on the site is a not a constituted conclusion but documentation process of questioning the selfs desires, motivations, pain, fear, interaction, etc.

By forming a log of all actions, there was an assessment of what the artist defined as the Existing Self. Existing self-was recorded on a twitter account that was accessible to its audience in real time, anyone in the world and location tracking tools provided physical data on where the performer went. This cataloging lead to the extensive collection of maps and detailed accounts of miles walked, steps taken, hours slept, the consumption of all food and supplements.

Cognitive Synergy examined a life recorded and shared in real time with the awareness that everything we do can be considered a performance. Texts, videos, and a cylindrical poem (operated to move by the horizontal arrow cursors keys) remain as an artifact of self-archaeology as well as the preservation of performative actions, memories, and digital mementos gathered within the performance.

Cognitive Synergy 2012
Performance/Website: http://cognitivesynergy.net/
Duration: 34days
Exhibition1: Next Time One Already, Triskelion Arts, Brooklyn NY 2012
Exhibition2: Next Time Two Almost, Whitebox Art Center, New York NY 2012


Jump is a website depicting a video showing a landscape near the artist place of birth frequently revisited. A sentence reading “Such a state of things cannot always exist” underneath the video illustrates the fact that the moment in which we presently live is always passing. The sense of the impermanence of this place is meant to give perspective on the fleeting nature of our world.

The Video narrative is broken down into three parts. Jump experiments with the environment as it was (a day in 2012) using essential properties like water, a sky, a human figure creating a digital materialization out of natural elements that are overlooked but are incredibly delicate. This site is a stewardship for creating a more profound and longer relationship with the capricious environment beyond us. The question that frames this page asks of what surrounds us ecologically, what will change as the climate does, what opportunities do we experience that may not exist as they do now.

Jump 2012
Website:
Duration: 5min
Photographic documentation above


all that she wants

All that she wants is a short film written and directed by the artist with a musical score that incorporates a cover of the 1992' Ace of Base hit ‘All that she wants’ composed by Lafawndah.

The short portrays a protagonist with a masculine sexuality who finds themselves arriving at the moment of becoming alive. Within the narrative, the main character's journey is an allegory for the ability to undefine the self. Exploration of the richness of the senses and emotional liberation underlayers the plot with poignancy. The main character played by, artist and writer Masumi Rioja pushes against the portrayal of assigned gender roles and trope conditioned behaviors crafting a new archetype.

The scenes, speckled with subtitles speak to the glamorousness of autonomy and a dramatization of impermanence. By deepening the question, what is... All she wants?, time reconfigures the traditional ideas that surround sensuality by someone who just wants more. Arriving nameless in a state of drowsiness the twisted rebirth tale unfolds. Memories and actuality blur between ambiguity and loneliness punctuated by encounters of romantic desire.

The footage aims to capture a visceral aesthetic language that unpacks the representation of nonconformist identity and pays homage to displaced individuals who, for many reasons, have marginalized personal histories. Beneath consciousness, a story is retold in a world that lets go of stereotypes and the parts of the mind that cannot see past assumptions and labels.

Shot in Mexico City 2016
Photographic documentation above

Press links
i-D VICE
https://i-d.vice.com/en_gb/article/premiere-all-that-she-wants-a-film-by-analisa-teachworth-and-lafawndah
The Fader
http://www.thefader.com/2016/06/09/lafawndah-all-that-she-wants-video
THUMP
https://thump.vice.com/en_us/video/lafawndah-cover-all-that-she-wants-ace-of-base-video


Club fish soda is an installation consisting of seven sculptures made with various materials shown with a series of photographs and poems. A circle of white ceramic chains and handwritten notes are also included in the installation but not pictured.

This work is an homage to the iconic imagery from the artist's Caribbean and Afro-Caribbean background. These sculptures are commemorating figures that are considered family. The statues within the series embody and embrace the experience of divination and protection while jointly addressing the damage of colonial rule on the artist's ancestral ceremonial practices. The more indirect sculptural assemblages describe nostalgic feelings experience as a child on the island.

The arts created in the Caribbean are often considered "craft objects" created by people who are not "artists" or outsider artists. The sculptures are a celebration of that type craft of practice, the people there who create in absence of approval, and as an offering to what has been lost.

Fish Club Soda 2013
Installation
Materials: Porcelain, acrylic, cowskin, plastic, fabric, cornichons, peppers, garlic, flowers, granite, metal, paint, found objects.
Dimensions no larger than 10 inches per piece
Exhibition: La Usurpadora, Abrazo Interno Gallery, New York NY 2013


prints

The creation of prints, drawings, and other paper works have been a consistent part of the artist's practice. Often imbued with text, and figurative storytelling the various works created using techniques such as letterpress, screen printing, watercolors, drawing, and the making of artist books.

Prints & Drawings 2009 - 2017


battery life on dis Images, 2017

about