In Theater
I’d like to propose a sculptural installation of silent television monitors each displaying a fixed view of a performance stage from around the world.
Forty Sony Cubes or Hantarex EQs are to be stacked in the form of a four-sided pyramid, with four monitors on the bottom row of each side. Each monitor will provide a continuous, live view of a stage, regardless of whether or not a performance is taking place. The locations will be selected so as to represent sites from around the globe, and to represent multiple performance formats such as operas, ballets, symphonies, and plays.
I’m interested in revealing what is hidden, acknowledging and pointing out the rhythms of life and patterns of human behavior, visualizing time, and teasing out voyeuristic tendencies. My work explores notions of concealment, surveillance, and concepts of time. I hope to give weight to absence, and to profile that which is missing.
Through this piece, I hope to frame the stage as a place of action, whether or not the monitor displays that action. It will act as a space for contemplation about performance, and the universality of storytelling. The work is a portrait of the spaces, the curtains, and the lighting, as hosts for activity. It may reveal practices, rehearsals, and maintenance that would normally remain out of the public view; bringing to life what we may have otherwise been considered a dark stage. Its presentation as stacked boxes makes reference to Minimalist forms, but infuses those forms with light, color, and at times, movement. What may initially appear as static images slowly reveal themselves as live video feeds. The piece unfolds in real time, and for that reason, can never be the same event twice.
In Theater
I’d like to propose a sculptural installation of silent television monitors each displaying a fixed view of a performance stage from around the world.
Forty Sony Cubes or Hantarex EQs are to be stacked in the form of a four-sided pyramid, with four monitors on the bottom row of each side. Each monitor will provide a continuous, live view of a stage, regardless of whether or not a performance is taking place. The locations will be selected so as to represent sites from around the globe, and to represent multiple performance formats such as operas, ballets, symphonies, and plays.
I’m interested in revealing what is hidden, acknowledging and pointing out the rhythms of life and patterns of human behavior, visualizing time, and teasing out voyeuristic tendencies. My work explores notions of concealment, surveillance, and concepts of time. I hope to give weight to absence, and to profile that which is missing.
Through this piece, I hope to frame the stage as a place of action, whether or not the monitor displays that action. It will act as a space for contemplation about performance, and the universality of storytelling. The work is a portrait of the spaces, the curtains, and the lighting, as hosts for activity. It may reveal practices, rehearsals, and maintenance that would normally remain out of the public view; bringing to life what we may have otherwise been considered a dark stage. Its presentation as stacked boxes makes reference to Minimalist forms, but infuses those forms with light, color, and at times, movement. What may initially appear as static images slowly reveal themselves as live video feeds. The piece unfolds in real time, and for that reason, can never be the same event twice.