Untitled (could you be a bit taller, big baller, what would you know,
dancing like that, all alone in your corner, i assume you wouldn’t be that
tall, taking up that space, head so small, but look at what you see,
where’s your mind at shorty, i didn’t think i would meet anybody like you,
shine your light through me), 2022
Moving head (spotlight), DMX, tripod, cologne, and microcontroller
Dimensions variable
My use of pre-manufactured materials (spotlights, tripods,
microcontrollers) is indicative of a service (consumer) economy. These
objects physically degrade and ultimately have a lifespan (duration), and
yet their replacement is almost guaranteed through mass off-shore
production. It is not the physical materiality that is important, but the
representation, function, and the sensation. While I am executing looping
scripts of code (the medium of the information age), the works’ necessity
for power (in this case, 120VAC) ground their potential endlessness.
Utilizing open-source technology makes the work theoretically infinite to
recreate, with manuals and instructions for reassembly.
Untitled [...] has the potential to be editioned infinitely.
machine_gun_God is the title
of the code written. Untitled [...] is constantly translating C++
to DMX. The code is a choreography. The dancer interprets the values
through the translation. The performance object (spotlight) is now
performing.
First installed for 3 days and 3 nights, this work existed in a room of
its own amidst the scent of Versace's The Dreamer.
This work was nominated for the Museum Purchase Award by the Cranbrook Art
Museum in 2024. During the
Graduate Degree Exhibition, this work remained on for the entire duration of the show (1 month).
