A life size replica of the Gallows from High Noon in Joshua Tree California. This sculpture was created by artist Noah Purifoy. Gallows sits amongst an expansive outdoor gallery of installations, sculptures and assemblages which clink and settle in the evening wind. Also present were the caretakers and their dogs. At several points you can hear our voices as we talk about images, education, and the possibilities of creating something different. – JJ
“Accelerating the Sunset (by riding a bicycle away from the sun as fast as I can) shows my attempt to change the speed of the setting sun by changing my position on the earth’s surface during the forty minutes leading up to the sun dropping below the horizon. The left frame shows the view from a stationary camera at the location where I started riding. The right frame shows the view from a camera mounted to the back of my bicycle as I rode.” – CB
This piece is a visual illustration of what hermeneutics is. With the cunning use of WWII footage it makes you believe that you are watching a proper war film. When you already expect the usual archive movie routine — everything changes. And you find yourself watching a completely different film. – AD
That Which Moves The Sun And Stars is a piece that examines the idea of fate and its existence. The piece follows the path of one whose perception of fate is brought to question. Using excerpts from Dante Alighieri’s “The Divine Comedy,” That Which Moves The Sun And Stars considers the motions of restructuring the perception of fate or moving forward with the realization of its lack of existence. – TS
In a flash
a future opens up
but you’ve just as soon missed it
a moment between
stolen twilight
borrowed dawn
in a flash
one consciousness flickers into another
green opportunity
green between
don’t blink
don’t think
the pinprick of the moment-of-becoming happens
in a flash
explode the moment
stay a while
– MRN/MW
Joseph lights Sarah’s cigarette with the Sun.
In-camera investigations of (filmic) nature. Rustic homages to early avant-garde landmarks and wild landscapes of the 21st Century. – PM
“Trypps #7 (Badlands) charts, through an intimate long-take, a young woman’s LSD trip in the Badlands National Park before descending into a psychedelic, formal abstraction of the expansive desert landscape. Concerned with notions of the romantic sublime, phenomenological experience, and secular spiritualism, the work continues Russell’s unique investigation into the possibilities of cinema as a site for transcendence.” – Michael Green, MCA Chicago
In Transfer of Attention a crumbling handmade facsimile of a golden beet is held against the sky in place of and in opposition to the sun. Over the course of the video I use my hands as surrogates for the viewers desire to touch and understand a distant object, investigating the slowly disintegrating calcium carbonate sun until nothing remains but the traces of yellow dust. In this video and my practice in general I am interested in investigating the space between what your mind can fathom and what your body can perceive and produce, the distance between the feeling of a rock and the knowledge of a mountain. Placing my hands directly on the objects is a small effort to close the gap between the viewer and the vastly unattainable, and yet there still remains distance as the objects are obscured from the viewers eye by the act of touching itself. In Transfer of Attention the object is completely worn away, disappeared by the act of attempting to gain information through touch, only to reappear again and again, a slightly different form against a slightly different sky. – RS
