A suite of diptychs about the development and experiences of a baby, and the parents who are raising her. On the left part of the diptych, a digital painting of the baby is overlaid by dialogue or monologue from the parents as “talking heads”; on the right part, the image of the baby is unobstructed. The format of the diptych is intended to foreground the connected, yet often parallel, experiences of parent and infant – the former existing in a world of language, the latter in a world of experience and sensation that precedes language. Exhibited at the Hobson Gallery, Reno, 2011.
Multimedia Dance Theater Performance and Art Installation, at CounterPULSE, 2008.
A performance created in collaboration with Navarrete x Kajiyama Dance Theater, Element Dance Theater, and artist Ilya Noé, staged as part of the San Francisco International Art Festival. The Mapping Project included video projection, animation, live music, and an exhibition of digital prints. The theme of the performance was the involuntary crossing of borders. Half of the dancers enacted images culled from stories from their grandparents, who suffered various displacements from the Second World War; the other half played out scenes of contemporary migration, making border crossings into shadow economies. The stage was dominated by a sculptural aluminum house, which was assembled, moved about, taken apart and reconfigured over the course of the performance.
My contributions included the creation of animation and digital projection, introducing staging and performance ideas, interviewing the dancers, creating and exhibiting digital prints based on those interviews, and running the projections for the live show.
Below is the text from one of the dancer interviews (it accompanied the print in the gallery above showing the screaming child with the elongated neck):
My family lived in Frankfurt while it was being bombed. There was an air raid and the family went down to go to the shelter. But my dad, he was about seven, he didn’t want to go. He got absolutely hysterical about it, screaming that he didn’t want to go. They gave up, and went back to their house. And found out, the next day, that the shelter had suffered a direct hit. Everyone in it had died. Dad doesn’t like to talk about this. Whenever Oma talked about it, her voice would get full of emotion, quivering, almost crying. That seemed to be one of the reasons Dad didn’t like to bring up the war – it would make Oma very emotional. He didn’t want us to learn German.
I didn’t understand all the implications. I knew my grandfather was in the army, but Oma said he wasn’t in the Nazi army, he was in the “other” army. It wasn’t until much later, somehow this came up with my boyfriend, who was Jewish. I told him my Opa was in the other army, and he said “Anna, there was no other army.” And a little light went off in my head.
Large-format Digital Prints, at the Richard L. Nelson Gallery, as part of the Gold Star exhibition, 2007.
A series of large-format digital prints, each roughly four feet by five feet, relating images sprung from the brain of a cow with Mad Cow disease. The pathology of the disease finds correspondences with episodes of bovine mythology; echoes of the cow-gods Audumbla, Io, Hathor, and Kamadhenu are woven into scenes of the cow eating, drinking, stumbling, suffering. Two flanking prints depict the cow watching a cannibal spider preparing its web-wrapped feast.
A print sequence of aquatint etchings, at the Fetterly Art Gallery, as part of the Paper Cuts exhibition, 2007.
This sequence was a response to images of martyred saints one can find in the old churches of Europe. There, the saints may offer to the viewer some example of their martyrdom – eyes that have been gouged out, a breast that has been cut off – displayed on a platter, as if serving a dinner of themselves. In this sequence, it is left to the viewer to imagine the circumstances of the saint’s martyrdom, and the rituals that have formed in that martyrdom’s wake.