A portfolio of work in support of my application for the Hodder Fellowship.
The Generative Darkroom: In a darkroom, an iPhone connected to a laptop over WiFi is placed into an enlarger. A patch written in Max/MSP selects pixels on the iPhone to be illuminated for a specified duration. This is captured on black and white photo paper. The selection of pixels is algorithmic making each image unique.
(untitled, 7/28/15) #02
iPhone Pixel Trails on Gelatin Silver Paper
(7″ x 5″)
Printed on Ilford Glossy Fiber at f/11 with each pixel exposing for 16 seconds.
273 seconds of initial exposure plus 452 seconds of additional exposure while the screen clears.
Point of origin 058×316 (screen dimensions: 480px x 320px).
Trinary (8/6/15) #2
iPhone Pixel Trails on Gelatin Silver Paper
(7″ x 5″)
Printed on Ilford Glossy Fiber at f/11 with each pixel exposing for 12 seconds.
Initial Exposures ranging from 39-44 seconds with 285-336 seconds of additional exposure while the screen clears.
Three points of origin 173×178, 234×208, & 250×075 (screen dimensions: 480px x 320px).
The Generative Darkroom
process documentation
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Mirror Minus employs visual analysis of live video footage; changes in color are continuously rendered on a pixel-by-pixel basis to create a projection, which re-presents, mirrors, and documents the participants’ impacts upon the space. It is part of the body of work entitled “Experiments in Reductive Video.” (read the project statement & view additional works)
Mirror Minus
“enjoying a little mother/daughter time at the @a2artcenter.”
documentation by a participant (via instagram user _kimmis_)
Ann Arbor Art Center, Michigan
07-25-2015
Mirror Minus
documentation of “Yoga in the Gallery” and captured still
Rosewood Art Center, Kettering, OH
05-02-2014
Mirror Minus
documentation
12’ x 9’ (projection)
2014
Interactive Installation
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Lumen Prints, an exploration of contact printing onto traditional Gelatin Silver photographic paper using the sun for illumination. Images are unfixed and must be photographed before they fade. (additional examples)
Twenty-four Hours of Autumn Shade
rephotographed Lumen print printed 20″x24″ (Archival Inkjet Print)
produced for participation in The Light Ekphrastic (November 2013)
10/15/2013-10/16/2013
Forte PolyWarmtone Art
Ivory_Base
24hr exposure (910pm-910pm)
Grape Leaves on Grapes
Lumen print over inkjet
A grayscale image of grapes was printed onto the paper prior to the 1hr 15min exposure
For Love represents the reduction of a video into a single print. Changes in motion and movement are layered to create impressions of these on-screen activities. The source material for this exploration was appropriated from online amateur pornographic video-sharing websites. It is part of the body of work entitled “Experiments in Reductive Video.” (read the project statement & view additional works)
For Love
84” x 40”
(15 images each 13.6” x 10.2”)
2010
Reductive Video Image / Archival Inkjet Print on uncoated Rives BFK
For Love (089-b) ; For Love (071)
13.6” x 10.2”
(details from For Love )
2010
Reductive Video Image / Archival Inkjet Print on uncoated Rives BFK
additional detail images
Sole Connection asks people to send me an image of their shoes and a story. With the goal of collecting at least 5280 images of shoes (5280 feet) this project aims to let viewers virtually walk a mile in another’s shoes.
The project currently exists on Tumblr at soleconnection.tumblr.com
These are samples of images and stories that have been submitted to the project.
Theresa
“I chose these shoes because they were on my feet for the entire 14 month tour I did for Operation Iraqi Freedom II. I just was able to take them off a few weeks ago and wear some real shoes. But, now that my feet are adjusted to wearing boots, heels are tough to get used to!! I was mobilized on 7 Dec 03 and returned home and discharged from active duty on 6 Feb 05. So, the boot have seen alot!!”
Jenny O’Grady
“What did it take to get here? Three years of paperwork, interviews, and patience. A plane ride of 14 hours; as the crow flies, 6,915 miles. But here we are, together on the street corner outside my Seoul hotel, ready to go home.
Photo by Erin Ouslander.”
Hughes Remix
The re-presentation of archival images in part or as a whole has become a standard in contemporary photographic practice. Methods are as varied as the artists themselves from Rauschenberg’s inclusion of media images in his prints to Levine’s re-appropriation of FSA photographs and from Fontcuberta’s insertion of himself into archival images to Umbrico’s excising of images from the collective archive.
In conjunction with the 2014 SPE National Conference theme “Collaborative Exchanges: Photography in Dialogue”, The Special Collections Department of the Albin O. Kuhn Library & Gallery and the Department of Visual Arts, at UMBC offered the images of the Hughes Company Glass Negatives Collection for reinterpretation and reinvention.
I proposed the project to both UMBC Special Collections and to SPE and acted in the role of co-curator
Construction: 1922 / 2011
created with images from the Hughes Collection,
University of Maryland, Baltimore County.
Full archive of images and project description at the Hughes Remix Tumblr:
hughes-remix.tumblr.com
This work has been accessioned into the UMBC Albin O. Kuhn Library & Gallery Digital Collections:
contentdm.ad.umbc.edu/cdm/landingpage/collection/p16629coll16
A short article about the Hughes Remix project was included in Socially Engaged Art Journal. April 2014:
www.sociallyengagedartjournal.org/2014/04/the-hughes-remix-project/
Palimpsest
A Washington Project for the Arts Coup d’Espace project
curated by Steven H. Silberg and Neil C. Jones
October 12 – November 29, 2012
2023 Massachusetts Ave, NW, Washington, DC
In the tradition of the palimpsest, those pieces of parchment and vellum (scraped clean for reuse) promise that something once existed beneath its contemporary surface. Yet, only through technological investigation is that promise realized.
Palimpsest asks its viewers to consider the scriptio inferior (the sub-text or in this case, perhaps, the imago inferior—the sub-image) of the black and white graphic applied to the stripped-clean surface of an original artwork.
Process:
When the artworks were received for the exhibition, they were documented and those images placed online.
Then the image was removed from the surface using chemical and mechanical means.
A QR code was created for each image online.
That QR code was then transferred to the surface of the artwork.
Only those with the proper technology are able to decode the new art-object into the original artwork.
Exploring Julee Holcombe’s image at Palimpsest
participating artists,
additional exhibition images,
link to the catalog & statement
Steven H Silberg 