Natural materials gathered from the site surrounding the former Sand Bar Motel are transformed into light sculptures in this 2-day pop up exhibition hosted by Overnight Projects. More info and images here.
An Order; St Joseph's Orphanage, 2015
An Order was a site-specific installation that responded to the energy and architecture of the former St Joseph's Orphanage in Burlington, VT.
Excerpts from an essay written by critic Amy Rahn for Overnight Projects:
The floors of the former St. Joseph’s Providence Orphan Asylum shine where feet have recently tracked through the dust, pushing it aside, clearing a path. The five artists whose works in this space comprise An Order spent the months before contending with this space and its history, gently disturbing its stillness, the strange unresolved air—clearing a path.
Allegations of abuse from the Orphanage’s operating years continue to gather like grim ghosts, haunting the abandoned building with their dark inescapable realities. As these artists began to consider what to create in this space, the building’s ghosts loomed; what could be made in a space clouded with trauma, a space thick with what Eliot might have called faded air?
Another room, where monofilament, thin as memory, stitches the closets and cabinets in a frantic web, connecting every corner, holding the room in suspension. The transparent threads trace lost passages through the space, barring its use. Mary Zompetti creates a space to which there is no returning; who are we, standing in the doorway?
Zompetti’s crowd of cyanotypes, little toy houses silhouetted against brilliant blue emulsion—are not quite dollhouses, not quite photographs—they are outlines, dreams of home. Here they pile, all in the corner, every angle imagined. Roofline pitch, door here, window, all the entrances and all the exits are here—framed and imaginary. Nearby, an overhead-projector holds a house within a house, upside-down. Home hovers on the future horizon overland, beyond, in a projected space, beyond these walls. The masonry presses against it.
Memory Works; West Rutland Marble Mills, 2015
West Rutland Marble Mills was a site-specific installation containing a looping, animated video of 147 data-glitched .jpg files as part of Memory Works: Sculptfest 2015 at the Carving Studio and Sculpture Center in West Rutland, VT.
The original source image was a scan of a black and white historic photograph taken when the Vermont Marble Works quarry was still operational. Each still image in the video was created by randomly deleting material progressively from the source code of the image. The image is rearranged and deteriorated by the code being removed until it is no longer viewable. The 148th image to be "glitched" was no longer viewable; hence the video is 147 stills in addition to the original image.
West Rutland Marble Mills
Natural materials gathered from Myvatn geothermal fields in Northern Iceland become an immersive light installation at the Populus Tremula Gallery in Akureyri, Iceland.
House/Home Project; Private Residence, 2011
Sudden loss, transition and change prompted me to repeatedly photograph the newly quiet landscape of my home.
Eventually, I emptied out the rooms and installed the photographs back into each room, creating a site-specific installation that moved the participant through the emotional and physical landscape of "house" and "home". Photographs were deconstructed and rebuilt and visual clues led viewers through the rooms, from the main floor living room and kitchen, up into the attic bedroom and finally down into the basement.
These photographs are the installation images from the House/Home Project, created in May 2012. This 3-floor, 6 room installation included photographs, projection, video and 2 rooms where the house itself became the camera.
For more images from the photographic series that led to this installation, see the project "Mornings and Evenings".
Through her simple apparatus, the sunny outside world was projected upside-down on the walls of the darkened rooms. In one, the inverted house of a neighbor gained eerie clarity as the viewer’s eyes adjusted to the darkness. In another, a row of spindly trees became a lacy wainscoting in the room’s half-light. The inversion of interior and exterior space made the walls of the house seem conceptual and meditative instead of comfortingly solid and familiar.