The Ugliest Thing
video and audio works, 2012
A failed sculpture is demolished by the artist on a journey within a California landscape only to be recreated through a montage that futilely attempts to undo its destruction.Film, Fine Arts, Performing Arts2013
3 minutes, HDV, 2012
An iconic metaphor destabilized. An animated sketch.Animation, Computer Animation, Motion Graphics2013
The Casts, 2012, 6:30 minutes
Three shirtless bearded men attempt to describe a series of cast objects in their hands. Relying only on their sense of touch and peripheral vision metaphors flow as fluid as the water that acts as backdrop to both their circularly framed images and the floating objects in question.
Infra-Colour, 2012, pedestals and plaster casts, wooden box, and styrofoam, dimensions variable though this installation is 85x95x47.”
Installation of a series of casts derived from styrofoam found in the boxes of technological devices.Film, Fine Arts, Sculpting2013
3:30 minutes, 2011
A scene inspired by the medical experiments reported during alien abductions; a paralyzed body trapped in a shifting, vibrating, otherworldly field.Computer Animation, Film, Pattern Design2013
Tactility Dreamcatcher, 2011
foam padding, contact paper, glitter, vinyl, beads, feathers, & synthetic hairFine Arts, Pattern Design, Textile Design2013
10:30 minutes, 2011, originally in 1080i HDVideo.
Beginning with a written description of Mike Kuchar’s film of the same name scrolled over images, which counter the text, Fragments explores the fracture of attention. Disjointed architectural ruins, neoclassical embellishments, sculptural remains, and foam detritus are infused with sounds of ubiquitous technologies that permeate the everyday as the video builds into a song of temporality and permanence. Fragments is as much a meditation on the ruins of ancient civilizations as it is homage to telephones and tourist slide shows.
Film, Fine Arts, Sound Design2013
Noise Print Sculptures for BAHA (Bone Anchored Hearing Aids),
digital prints on arches paper, 2007-2010
Attempting to make practical windscreens for my implant, mini sculptures ensued. These prototypes became documented and resulted in the modeling of the idea in the form of a series of digital prints.Digital Photography, Fine Arts, Sculpting2013
documentation of three-channel synchronized video installation, 2010
9:30 minute loop
A “re-weaving” of documentation of two sets of scientific tests, one visual and the other audible, which seeks to measure perceptions in various virtual environments. Through the processing of sound and image, the work holistically attempts to reintegrate the fractured isolation of perceptions framed as independent variables. Time and space are reoriented in the shuffle to create a visceral experience that undermines the original purpose of the tests. The work is intended to be viewed at slightly above human scale.Film, Fine Arts, Sound Design2013
mixed media video sculpture, 2010
two-channel asynchronous wall installation, two 3-minute video loops of Korean acrobats jumping in the air from pouncing on an unseen seesaw, 65 x 106 x 10." Due to the lack of synchronization the acrobats actions fall in and out of rhythm with each others’ actions over an expanded period of time.Film, Fine Arts, Sculpting2013
mixed media video sculpture, 2010, 72x48x40”
An homage to the analog airwaves, two-channels play altered images of static (in the top an occasional image of a static head rotates) while the lower television delivers a static signal with low volume static sound.Computer Animation, Fine Arts, Sculpting2013
All That Glitters...
mixed media video sculpture, 2010, 15-minute loop of a performer dressed as a gold digger pick-axing a bed.
The subject is keyed into images of gold mines and overlayed with the streaking, abstracted lights of a large city.Film, Fine Arts, Sculpting2013
4.5’ x 5.5’ x 10’ sound sculpture, 2008
Based on furniture designs from the 19th century constructed to aid the hard of hearing, this sculpture plays a mono signal of a collection of classic rock guitar solos out of its sound horn.
Fine Arts, Sculpting, Sound Design2013
Understanding Human Behavior
wicker base, foam, vinyl, foam carpet, books, plastic spoon & fork, 2009Fine Arts, Sculpting2013
Every (Movie, Sound, Image, Text) on my cell phone
8 minute video, 2008
A collection of material shot, sent, and received expunged from a cell phone becomes a reflection on the everyday as it is experienced through the lens of this seemingly indispensable technology.Film, Fine Arts2013
Other Turbans, 12:40 minute video, 2007
The artist as post-operative subject discovers a sound art piece by Max Neuhaus in Times Square while being mistaken for a terrorist. A field of high-tension wires completes the contemplative excursions needed to help him adjust to his new implant that will eventually help him hear. The third piece in a trilogy of single-channel works on hearing loss.Film, Fine Arts2013
Radiolarian, 2007, mixed media sculpture with live radio, 10’ x 5’ x 7.5’
An installation that begins with a speculation. If low frequency radio waves transmitted by the earth’s atmosphere have touched upon the ocean to shape the one-celled organisms called Radiolarian what are the invisible radio waves of classic rock stations forming? Inspired by the stereophiles notion of the “sweet spot,” Radiolarian contextualizes this question through an inviting construct that challenges the viewer participate in a sculpture for radio.Fine Arts, Sculpting, Sound Design2013
The Knocking, 2001/07
15 minutes video
A man eats dinner and plays solitaire as images of Eastern Europe revolve around him to the sounds of an audio effects record. Footage shot throughout Germany, Poland, and the Czech Republic at the end of the twentieth century echo with ghosts of the past as old and new architectures are simultaneously (re)constructed. The “master narrator” counts the illusion of order as the main character slips in and out of drag.Film, Fine Arts, Sound Design2013
Enclosure Strain Collapse, 2007
a synchronized 2-channel re-edit of the 3-channel video from the earlier work/installation Ceilings Without Walls for Monkeytown in Brooklyn, NY.
Ceilings Without Walls, 1996, 3-channel installation at The Kitchenette, New YorkComputer Animation, Exhibition Design, Fine Arts2013
Fischinger and Linstrom, 2007, 9.5” x 25” x 65” (documentation with details)
A portrait piece of Oscar Fischinger and Christopher Linstrom, MD. The former an early 20th century filmmaker dedicated to visualizing the abstract qualities of sound and the latter being a contemporary (ENT) ear, nose, throat doctor attempting to visualize sounds perception via scientific methodologies.Computer Animation, Fine Arts, Sculpting2013
Sensorial Principia, 2006, a documentation of an installation at Rooftop Media in Brooklyn, NY, original projection was a 15-minute loop in HD video.
The site-specific installation celebrates the specialization of knowledge through the rubbing of an iconic pinnacle of scientific achievement, Newton’s Philosophiae Naturalis Principia Mathematica, against the artistic ambivalence of the human body. The work questions the access points, as well as the goals of the producers and distributors of human knowledge.Architecture, Fine Arts, Street Art2013
Free to Be You and Me, 4:20 minutes, 2006
Four of the original children on the merry-go-round in the opening sequence of Marlo Thomas’s star-studded television special of the same name rephrase the catchy opening theme song. An internet mogul, an independent filmmaker, a temp computer specialist, and an orthodontist reiterate the songs nostalgic promise of freedom couched within a technologically mediated environment.Film, Fine Arts, Performing Arts2013
performance by Andrew Shipin, 8 minutes, 2006
A speculative retelling of the invention of dial tone and the personal mini-fan unfolds into an interview where the inventor strikes back. Small dreamy excerpts of the laboratory where it all took place bookends this unsettling tale.Cinematography, Film, Performing Arts2013
Strange Fruit Sound, 2005, 9”x8”x8,”sculpture with 18-minute loop, video, sound, mixed media.
An architectural fragment holds a display that loops a DVD that quietly moves through oscillation tones and frequencies. On the loop architectural fragments and fruit are arranged around the body of a nude male on a table. Occasionally these elements are plugged into analog oscillators that effect both the frequency being generated and the “still life” presented.Film, Fine Arts, Sound Design2013
Monograph in Stereo, 2004/5, 17:20 minutes, video.
Monograph in Stereo employs documentary and experimental strategies to convey a struggle with congenital and operational hearing loss and tinnitus, a continual ringing in the ear; a phantom auditory perception. The work also stems from research upon the interdependency of the senses with an emphasis on the balance ascertained from binaural hearing and stereoscopic vision and the imbalance caused by their uneven degradation. Images move amongst poetic reverberations of landscapes, interiors and audiological exam rooms. The second video in a trilogy of single-channel works on hearing loss.Cinematography, Film, Sound Design2013
The State I’m In, 2002, installation and production stills from Monograph in Stereo, wood and foam bedding, dimensions vary
A room is half covered in egg crate foam material and half bare. A singular window breaks the bare side’s scarcity and wood paneling covers the floor. In the room’s center, a rectangular foam and wood structure sits interrupted by its own concavity.Architecture, Fine Arts, Set Design2013
Summer of Tympanoplasty, 2003, documentation of an installation at Artsite in Wellsville, NY, 2-channel mixed media sculpture with one random script DVD with audio. Traveled to Pacific Switchboard in Portland, OR.
Documentary and experimental strategies are blurred within a sculptural installation to convey an autobiographical struggle with otology and an interest in synesthesia, the neurological condition where a subject confuses one sense for another, i.e. hearing architecture. While the title of the work is directly related to the my own recovery from a procedure to heal a hole in my eardrum (tympanoplasty), the installation’s content envelopes an array of concerns stemming from the recognition that in the case of a sense altering physiological event one is reminded of reality’s extreme subjectivity. The sound, a series of various frequencies punctuated by silence, is the expression of an internal noise, tinnitus, a phantom auditory perception. The condition is a constant ringing in one’s head connected to no external correspondence and often the result of trauma to the auditory nerves and/or an effect of gradual hearing loss. In Summer of Tympanoplasty, both sculptural and media elements are used as a way to convey the complexities and connections between acoustic and spatial comprehension.Film, Fine Arts, Sculpting2013
1/2 right, 2002, color video, 8 minutes.
The electronically processed images and sounds of a hearing exam articulate the subject’s struggle with genetic and operational hearing loss and his ability and inability to discern white noise, tones and words.
Film, Fine Arts, Sound Design2013
MFA Thesis exhibitionArchitecture, Fine Arts, Sculpting2013
Escape Artist, 1998, performance still, performed at UCSD, UCLA, UCB galleries as part of a traveling circus themed exhibition titled Circus Momentous. LED, box and rope light controller are on the ground.
A live slow motion escape ensues after members of the audience bind me onto a chair with red PVC coated wire, rope lights, locks, and red tape. LED slowly loops a string of the following words: “Art takes Time . . . . Time is Money . . . Escape . . . . Artist . . . . Escape . . . . Artist . . . Time takes Art . . .Money is Time . . . . Escape . . . . Escape . . . . Escape . . . .”
Masochistic Clowney, 1998, performance stills bookend a still of sculptural props in the show Circus Momentous. Wood, metal and used plastic balls.
A heavy metal clown instigates the audience over the course of the evening until he is locked in a wooden and metal structure unleasing insults at the audience and dares them to hit him with plastic balls. Often the audience was so inspired to hit me with anything and I threw balls back at them.
Fine Arts, Performing Arts, Sculpting2013
Emergency Exits, 1997/98, 2 stills of an installation at The Marcuse Gallery in San Diego, CA with internet component, computer, video projector, speakers, red PVC coated wire, wood, plastic, fish line, rope lights and controllers, various hardware, dimensions vary. Installation traveled to The Kitchen in New York.
Viewers navigate by joystick through a web site projected from a black box. Constructed by the digital altercation of airplane emergency procedure manuals, the site reconstitutes their original design through captioning the innocuous characters with the titles of immediate family members. Certain passages lead the participants away from the domestic struggle for survival revealing a subtext of roles played between two male lovers playing the balancing act of airplane in their underwear.
Fine Arts, Interaction Design, Sculpting2013
Aviatrix, 1997/98, stills of an installation at WRO 97, Media Arts Biennale in Wroclaw, Poland. installation for the internet with computer & monitor, two video monitors, one VHS deck, slide projector, wood, sheetrock, duct tape, and green bulbs, dimensions vary.
An installation with the internet at its tail end, two side monitors play audio and video at its wings. A series of slides are projected at the front of the structure looping a barnstormer falling and rising on the wing of a plane. The video is processed archival newsreel footage of barnstormers and female aviatrixes.Film, Fine Arts, Sculpting2013
Aviator, 1997, 8 minutes, video. Distributed by The Kitchen, New York, NY.
Two men play the balancing act of airplane in their underwear as they
soar through images of newsreel footage “masculating” the history of
flight. The rhythm of their actions unfolds a relationship charted by
memory and suspension.
Film, Fine Arts2013
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