Don’t Lose Your Water in the Desert

Stop motion photography

Still lifE

photography, PERFORMANCE, and stop motion animation

Do we view the female figure as a portrait or a still life?

Hand-drawn and hand-painted images of fruit, objects, and figures on fabric were cut and collaged into three-dimensional space. Oversized pieces were layered onto and around the body in a practice I call Human Assemblage, then rearranged across a tabletop stage for stop motion animations.

PHOTO BOOTH PROJECT

I AM CHASING DOWN PHOTO BOOTHS ACROSS AMERICA BEFORE THERE ARE NONE LEFT.  I work WITHIN THE LIMITS OF A PEA-SIZED STUDIO, TIMED FLASHES, AND A three-frame MEDIUM following basic story structure: beginning, middle, and end.  BOOTHS KEEP DISAPPEARING ON ME, BREAKING DOWN OR BEING REPLACED BY NEWER, SHINIER, HORRIBLY ANIMATED MACHINES.  I am finding OLD ONES that still take TEN MINUTES TO DEVELOP FILM.  I AM RIPPING THE TAPE OFF THE COIN DISPENSER, THE BLUE TAPE TRYING TO PREVENT ME FROM USING A MACHINE WHOSE EXPOSURE IS OFF OR INK IS RUNNING DRY. THE WIND IS BLOWING HARD, SO SOMEONE PLEASE HOLD THIS CURTAIN FOR ME AS I UNDRESS FOR A NUDE. 

ode to magritte

PHOTOGRAPHY

this image is a response to a site-specific installation of RENé magritte’s the eternally obvious. the photoshoot concept was developed for music artist will maclean. i printed and framed five photographs of his body, reconstructing Magritte’s fragmented figure outdoors. the shift from a nude female to a clothed male subject examines the artist’s gaze.

magritte’s frames act as containers, holding female body parts. arranged vertically inside a bathroom, they form a woman ready to bathe— ignorant of her incompleteness. my frames function more like windows. each picture shows the surrounding terrain, suggesting a landscape extending beyond the frame. the man seems to exist in two worlds at once. his legs are disappearing, as though he can slip in and out of time. constructed as taller than a tree, he appears giant and self-directed. he is free to escape through the frames; she is stored within them.

REFERENCE IMAGE, “THE ETERNALLY OBVIOUS” BY MAGRITTE INSTALLED IN A BATHROOM