Ongoing performance visually accompanying experimental musicians. Analog video synthesis and custom software.
In January of 2015, M. Cody McPhail launched a showcase of experimental and ambient music that quickly became a monthly event, roaming various music and arts venues across the D/FW metroplex. Key to the programs format has been the inclusion of a regular group of video artists accompanying the musicians, as well as installations to create an immersive environment. I have been a regular participant, along with Brian Tomerlin, Sean Miller, Thor Johnson, Evan Henry, John Barker, Ali De Vito, Jessie Moncrief, and others.
Performance with 2x16mm projection, custom software, 2014
The third work in the continuing series of expanded cinema performances exploring the hermeneutical process as it might be applied to cinema and technology. In this entry, the text-based filmic image is overlaid with a digital video projection that is controlled by custom software. The hybrid moving image is re-interpreted by the computer to control immersive audio synthesis. The viewer is questioned about her relationship to history, meaning-making, and cinematic experience.
This work was a site specific video work made for the 2013 edition of EXPANDED CINEMA: MultipliCity, curated by Mona Kasra, exhibited on the LED surface of Dallas' OMNI Hotel as part of the 26th Annual Dallas VideoFest.
For much of 2013, the iconic green lights of the Bank of America Plaza were dark as renovation was underway to replace the argon fixtures (which had been on the building's surface since it was finished in 1985) with LED tubes similar to those on the OMNI. This work is a kind of elegy for the older technology, highlighting the skyscraper's conspicuous darkness by transposing it's green lights onto a neighboring structure.
The images are made simple for viewing on the astonishingly low resolution display, and doubled in order to wrap around both sides of the building.
This is Ar CITY. This is OUR city. Here we stand, together, under towering constellations that outshine the stars. We are a congregation gazing in awe at the things we've built. Your aura is green: look into the light. Look within for the chroma you choose to ignore. We've never been closer. You've never been more alone.
Performance with 2x16mm projection, analog video signal as audio, 2013
The second in a series of works that explore the nature of interpretation. In this case, a pair of 16mm projections are overlapped while being captured by an HD video camera. The analog component signal is fed into an audio mixer without any further filtering. All audio in the piece is produced by the camera's output. The video waveform is manipulated by the film projection to produce a real-time, synaesthetic cinematic experience using the artifacts of one medium interpreting another as raw material.
Performance with 3x16mm projection, choreography, and live audio. Collaborative work with Danielle Georgiou and Julie Mckendrick, 2012
Using a series of film loops, inverted silhouettes of dancers slowly drift in and out of sync while illuminating the space between audience and screen that two dancers navigate through. Inspired by the tape works of Steve Reich.
Monument for Juanita: Candy is the Sun - 2012
Sight specific video, presented on the LED surface of Dallas' Omni Hotel as part of the 25th Dallas VideoFest's much lauded "Expanded Cinema" program. The buildings surface was temporarily transformed into a moving monument for Dallas first lady: Juanita Dale Slusher (aka Candy Barr), the exotic dancer who performed very close to the site of the hotel at Abe Weinstein's Colony Club.
Candy Barr would say that the moments when she was dancing were the times she felt the freest. This monument, if only for a few minutes, sought to give her back this freedom while setting her image prominantly among the lights of Dallas, a city that both abused her and made her an underground star.
See Colette Copeland's article on Glasstire here.
See Jaimie Laughlin's article on Mixmaster here.
Rituala Kino was a collaborative performance by Michael Morris, Andrew Blanton, Cody Ross Rex, Amanda Preston, and Danielle Georgiou (with DGDG).
As part of Centraltrak's 2012 performance series Harakiri: To Die For Performances, curated by Danielle Georgiou, a cinematic ritual was staged to question the space of reception inhabited by the audience when experiencing cinematic works in a gallery setting. The audience was restricted to a specific area while the rite was performed. At the culmination, the audience was released to engage in as active or passive a mode as they saw fit, with the hope of exploding the cinematic space into a participatory ecstatic dance party.
Constellations is a site specific video projection, which takes the illuminated windows of the Dallas office buildings as an inspiration. Involved in repetitive activities, the imaginary occupants of the buildingscommunicate through light signals, which results in a silent symphony of encoded messages.