Video Projection, 17:49, 2021 Phoenix Art Museum, March - September 2021 The Way It Was is a rumination on the fallacy and possibility of memory. The repeated sequences explore the unreliable process of creating and recalling memories, as well as the significance of remembering at all.
It is always 12 o'clock.
Video, 6:22, Black & White, 2018 Video Finalist, Premio Combat Prize, 2018, Livorno, Italy It is always 12 o’clock explores the interrelationship of time, place, and presence through a particular, recurrent moment of a daily commute. In a space that seems juxtaposed with the usual structure of daily life, time appears to have been paused – making it easy to question one’s presence within it.
Family Picture Night
Video, 10:20, 2017 Celeste Prize 2017, OXO Bargehouse Tower, London, England In found footage of a family tradition, moments that once seemed everlasting and reliable have been preserved, yet altered, by the unavoidable passage of time. A family, a home, and a past reality are revisited in the images and sounds left behind, deconstructed and re-contextualized to fit the present and confront a ubiquitous dilemma – how and what to remember.
How long does a moment last?
Video, 7:11, 2020 (previously Extensions) Body Archives 2, Museum of Natural History, Florence, Italy In a photograph, a moment remains – frozen, yet ongoing, in a reality supposedly lost to the passage of time. A view of time tells us, however, that contrary to our intuitive understanding, moments in the past do not disappear; they are still in existence, just unreachable. They simply reside at different points in time and space. How long does a moment last? explores the potential of this exchange, using found photographs from Italian street markets as markers of other realities explored from within. The process searches for an intimate knowledge of these images, digitally joining and subtly extending each moment to explore a shared existence.
Video, 3:03, Black & White, 2016 Nearly There, Solo Exhibition, Jules Maidoff Gallery, Florence, Italy This video performance recreates what once stood as an effortless display of the body’s control, strength, and grace in its surroundings. Now unnatural and burdensome, the movement has become something in which nothing quite fits or works as it previously did. Though this perfect union is and always has been unreachable, patterns and parallels emerge from the futile attempts at revival.
Video, 8:18, Black & White Premio Celeste 2014, Video Finalist, Assab One, Milan, Italy BINNAR Video Festival 2018, Portugal This work approaches control, discipline and placement of the body. By splitting a series of movements in half, the figure becomes two distinct parts; their connection is questioned, but reliance amplified. Despite the attempt to separate, one part acts and the other must follow. The whole remains inescapably linked.
Promise of Continuity
Video & medium format film photography, 3:13, Black & White, 2021 This work uses a reverse-engineered, film-like sequence to explore the existence and perception of time’s progression. The sequence creates this illusion of movement and change, exploiting our tendency to generate narrative through the notion of past and future.
Video, 2:01, 2016 Nearly There, Solo Exhibition, Jules Maidoff Gallery, Florence, Italy 2018 - IV FESTIVAL VIDEO, nodoCCs, Caracas, Venezuela 2019 - Art | Banchel, Pigmento Studio, Madrid, Spain 2019 - 5 Minute Film Fest, Museum of Contemporary Art Tucson, Tucson, AZ, May 24 "Weight" uses movement to create an illusion of influence, control, and purpose in relation to a structure that has stood the test of time. A fleeting presence imposes a temporary force, but leaves no permanent mark once the structure returns to its original state – ultimately indifferent to what has occurred.
Consequence of Movement
Video, 4:19, Black & White, 2019, 5 Minute Film Fest, Museum of Contemporary Art Tucson (virtual), Tucson, AZ, 2020 This work explores phenomenology of movement by analyzing dance in its simplest form: markers of the body’s placement within time. In an improvised performance with closed eyes, an attempt is made to rid movement of theatrics and emotional displays. In paused, close-up depictions of the face, however, visions of extreme emotion emerge regardless of the attempt to close them off. Each expression is an immediate, genuine consequence of the movement to which it belongs. This piece examines what emerges from these paused frames, as well as how, without any “real” motion present, our minds are capable of filling in the spaces to create movement and narrative where there is none.
Video, 5:27, 2014, Long Distance, Le Murate, Florence, Italy, 2014 Fences, XVIIX, Online Program 2020 This work centers around the action of balancing in a position and place that is no longer, and perhaps never was, certain. The performance-based video uses simple movements that call for a state of extreme concentration - both a removal from and complete connection to body and surroundings - searching for fleeting moments of certainty within a constant state of change.
The Wait, 2020
Video, 4:58, Color, 2020, 5 Minute Film Fest, Museum of Contemporary Art Tucson (virtual), Tucson, AZ, 2020 The Wait explores a state of suspension and longing, promising tranquil scenes that are instead blurred and blocked. Progressing, but never focusing, the scenes create a skewed sense of position and motion, one moment soothing and the next jarring – embodying a lingering imminence that has come to characterize our experience of time and place. Each 360-degree arrow rotation was manually spun over the blurred images to achieve an imposed reproduction of a ubiquitous technological encounter, making the experience of creating the piece similar to viewing it: meditative, but taxing. The repetition and blur are so prevalent as to take over the scene completely, leaving one to wonder if the original is of any importance. As a result, the viewer may suddenly realize he or she has been watching for a long time, intently even, for something else — in the meantime, not really seeing at all.
Video, 3:07, 2020
Video, 2:04, color, 2014 A choice of mark placed on the body, used to represent the self, tattoos perhaps fail to embody the deepest parts of identity for that exact reason – they are chosen. What shapes and defines us is often what we have little to no control over – family, love, loss, origin, location. They remain permanent marks whether or not we chose to display them. If our skin represented us accurately, if we had no choice, how would our tattoos appear? How would our bodies represent us, should these markings emerge on their own accord? Each with their own intensity, duration, and size, they would become not chosen marks, but true representations of what shapes identity, mirroring what is held inside.
Installation, Photography, Video, Museo dell'Accademia Estruca, Cortona, Italy, 2014 Sponsored by the US Consulate in Florence A performative intervention conducted in collaboration with artist Radha Tague using the threads that bind the inhabitants of Cortona, Italy to their museum. The action was documented as it unfolded with photos and videos to testify the relationship between artists and residents that resulted. The work was part of a very special exhibition opportunity arranged for SACI's first MFA students in conjunction with an exhibition at the Museo dell’Accademia Etrusca in Cortona (MAEC), which features artifacts from Holkham Hall and the British Museum. Based on the engagement with the museum and its Etruscan collection, the people of Cortona, and the surrounding region where many Etruscan sites are located, the works were inspired by the exposure to the Etruscan culture and will be exhibited at the MAEC from April 24 - July 31, 2014. This opportunity was made possible through the efforts of MFA instructors Karen Yurkovich and Daria Filardo and by the support of MAEC Director Paolo Giulierini.