130 Westminster Street, 2006
Two slide projectors are loaded with the same set of slides of a building being demolished down the street from the gallery where the work is shown. As the timers in the projectors advance the carrousels, the sets of slides go gradually in and out of synchronization.
The title 130 Westminster Street gives the clue to where the demolition was taking place. The layers of the building being scraped off and the interior spaces, constructions and edges that are usually unseen, become visible in overlapping ways, creating new images.
Clear Cut, 2006. Photographic series with nine photographs.
We Do Not See That We Do Not See, 2006. Houses in Providence, 2006.
Camera Obscura for an Empty Site, 2006
By following two intertwined trains of thought - time and technique – this piece positions itself in the midst of my interests in mediation and manipulation of sight, and in the difference between experiencing millions of bits of mathematical information that the video medium consists of, and how we see the world around us through systems of extremely sophisticated eye-to-brain coordination. The camera obscura is a model of how our eyes actually see, before information has been processed in our brains, yet it is a model, we only know of through scientific inquiry.
The installation offers two kinds of mediations of visions and time; the video with its edited slow and fast sequences of events that have already taken place, and the camera obscura as a kind of live feed, which mostly appears to be a ‘still image’.