Presented at theDumbo Art Center (dac) Art under the bridge festival, Brooklyn, NY, 2006. The work is intended to explore the Brooklyn the neighborhood of dumbo.
Single channel, 18 Frame, 600 x 800 pixel, RGB data projection work
Presented as part of the d.u.m.b.o. arts center (dac) 10th annual art under the bridge festival, 2006. Projected on the blank three story wall in the small parking lot on the South West corner of Jay and Water Street, Dumbo, Brooklyn.
Dumbo is a place of outsized architecture. Everything is at the scale of elephants or super heroes. It is also has a rich history, and is currently the site of some of the most intense gentrification in New York City. This project acknowledges the scale of the area (and the special place which architecture holds here) by working with the structure of the comic book and the giant billboard.
All images started out as 12 megapixel digital still images shot on the streets of dumbo, capturing architectural detail, and the street level build environment. Text was added by doing a Google search for the word “dumbo” and culling bits of text and actual quotes from the search results.
By working with the idea of the comic and the billboard, this project attempts to provoke thought on issues of urban planing, quality of life, and visual impact of the street level built environment.
Presented at Maxwell Fine Art, Peekskill, New York, NY, is a single channel video work which explores the fundamental mediatic qualities inherent in the superimposing of text on video.
Writing By Cutting is a single channel video work which explores the fundamental mediatic qualities inherent in the superimposing of text on video.
The technical processes of the “matte generator” and “downstream key ” (or DSK), are a means of producing a flat solid-color output which is often used to superimpose or “key” text on top of a video image. In this case what is being written over the video is not text itself but something with visually similar qualities.
The DSK is commonly employed in video industrials during title sequences and show openers, bumpers and interstitials, as well as in corporate video presentations whenever words are needed. Now being eclipsed by motion graphics as the favored mode of text presentation, this ubiquitous visual event has become cliché.
In early film work black mattes were cut by hand and placed over sections of the image to allow compositing. Today av mixers generate simple mattes on the fly, cutting out parts of the image and replacing it with text. Writing by Cutting takes this common yet ephemeral video occurrence and strips it down to essentials, as a means to make its fundamental structure apparent.
Created using an industrial audio/video mixing console and with no video content or text source material whatsoever, the “program” output of the mixer is redirected back into one of the input channels to create a delayed feedback loop. By keying a matte over the feedback and carefully riding the luminance levels, semi persistent lines can be inscribed over the channel below. Newly recorded material is written to the foreground as the older fades into the background giving an illusion of multiple planes of depth.
The process itself is done live, by hand, and is delicate to achieve and to control. The “writing” process reveals fundamental mediatic qualities inherent in video imagery itself, and explores the visual meanings embedded within these structures.