In the collaborative exhibition The Space Between at the Macedonian Museum of Contemporary Art (MMCA), eight artists created individual videos revolving around notions of distance, exchange and geography. The artists responded to the current climate of globalization: a time when expedient knowledge transmission and the split second ability to connect to other cultures exists; yet, with this ability to communicate, there is a continual experience of the fragmentation of place, conversation, language, context and identity.

This individual video (exhibited with the other artists) identifies a particular intersection in Chicago where the space between ground and sky, line and form, stillness and movement become associated with a fragmented narrative of color, language and introspection.

Push the Envelope, an exhibition at Dynamo Project Space in Thessaloniki, Greece, exhibited cloaked in fragments: fragments of Sappho, trans. Anne Carson, ed. This video compiles fragments taken from a reflection on a pond, Sappho’s lyrical poetry, and alterations of Anne Carson’s English translations of Sappho’s poetry.

My intention behind the video was to create a Greek and English version of a poem based on fragmentation by using excerpts of the lyrical language of Sappho. The Greek section of the video has been ordered to mimic the English section, which follows it. Whereas the English section has been altered in order to link one fragment to the next, creating the resemblance of a singular poem. Yet, like the Greek section the majority of original pronouns exist throughout the poem, pointing back to the original Greek text and its fragmented form.

This video projection, cold song, was influenced by a meditation on silent screaming, the psychology of the inarticulate, and primal urges within the body and mind.  My research on some of this work consisted of Artaud’s book, Watchfiends and Rackscreams; Jabes’ book, From the Book to the Book; and Deleuze’s essay, “Literature and Life.”  I used the Scream by Edvard Munch as a visual and art historical starting point when creating the video and positioning myself in the frame of the video camera as well as his references to nature, the sky, and water.  Although my piece diverges significantly, I was interested in this idea of the still and silent scream (as an almost still image in relation to time).

The sound in the video projection is a combination of texts that exist as multiple voices (in stereo).  The voices sing a cold song that repeats, and interrupts one another.  They attempt to communicate through sound but in essence it becomes snippets of poetic song.  The song exists as a sparse field of language that becomes landscape, hair, the body, and seasons.  The text also calls back to my interest in the creation of one’s own language or what Deleuze describes as “its new syntax as a language within language.”

Vocals by Shannon Schmidt

The Remembrance was part of a video installation at the Sullivan Galleries in Chicago. Combined with crocheted text inserted into the wall, the video monitor sat on the ground looping the collaged text and images together. By connecting the verbs and nouns in the text preceding the images along with the language related to color, the imagery in the video creates a poetic association regarding the imagery of language and shifting memories. The Remembrance demonstrates the play between language and meaning, as well as the fallibility of memory, or memory as it relates to creation, loss, fiction, and fact.