1) projectS1ph-ap_dn-ry_01

An early state: still of dancer illuminated with digital projection.

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2) projectS2phe-ap_dn-ry_02

An intermediate state still taken from the edited video of digital projection and dance.

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3) projectS3phepr-apj_dn-ry_03

Final stage video still taken of the projection/performance at Lumen with the dance video projected onto the handcart that is being pushed through the illuminated technology/light/performance environment.

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Artist statement:​​

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“…riverrun…”1

moving along/through the passing scene​​

two of us pushing a cart

rolling digital art projections​​

multi-process​​

process cubism / archaeology of a painting / perceptual contexts​​

another project exploring / digital/analog/process cubism​​

a slice of life / the virtual and the real​​

on the road again

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recombinant series - mini-projects yo-yoing among analog/digital processes, projections, enactments - each complete, accretion as multi-combinations, composite, fractal – reflecting, producing variations on themes and stories - projections again – projective geometry and narrative, always movement – visual storytelling resonating within/without, generating developments as it goes.

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Amelia puts together a series of short dance pieces – flashes of abstract images, masked individual dancers’ silhouettes, heads, faces, and movements, Philip digitally edits, abstract pairings for the imagistic lighting projected onto the dancer, perceptual transformations.

 

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performance|dance: located in downtown NYC loft space – brick and plaster walls, old smoothed wooden floors, curtains, a mirror wall, light and shadow projected from windows at one end of the space - two of us, a dancer and a camera, also mobile, a second dancer turning and swooping, resting stationary, cutting parts of the scene, framing compositions, creating counterpoints and extensions of the flow and rhythms, two interacting, improvising, composing.

 

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video: edited together, projected onto the handcart - lo-tech/hi-tech, a mobile projection screen, emergent construction with materials available, no right angles, part solid, part broken grid, found objects and home-grown engineering, incorporating a set of mechanically animated classic geometric solids, challenging pre-existing formspaces.

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performance|projections: located at the Atlantic Salt works, NYC, Lumen, festival of light, two performers, Joanna pushing the cart, I’m the other holding a miniature projector and filming the progress of cart, with pre-edited projected virtual dancer, patterns, constructions, foreground and background encounters, embracing exceptions, three makers - one virtual and two present with many audience/participant/performers,  observing, interacting, improvising, connecting.

 

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all: digitally edited, enhanced, shaped into stills and video - Fantasia, Mardi Gras, Lumena, passing scenes, local dramas, a pair of peripatetic bricoleurs, wandering along the road, low-key high-wire performance, real-time composition, live framing, celebrating atypical methods, mixing pre-envisioned building blocks of light, narrative, movement, recombinant, constructed with what appears, improvising, fitting, evolving the narrative, incorporating archetypes from stages into story, levels of clarity, obscuring light, echoing, already repeating, unfolding as it tells itself. 

 

“…a way a lone a last a loved a long the…”1

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Biography

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Philip Sanders is a digital artist, educator, and curator involved in the interrelationship among art, technology, and culture. His first three interactive computer installations were in 1979, when he began a career-long engagement with digital interactive art, interfaces, user experience, and how we shape the conceptual and perceptual modes we bring to our experience.

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Exhibits include the New Museum, SIGGRAPH, ISEA, NYU/ITP, Governor’s Island, Lumen, Grounds for Sculpture, Boston CyberArts, Images du Futur, Los Angeles Center for Digital Arts, The Center for Curatorial Studies and Art in Contemporary Culture at Bard College, Scott Pfaffman Gallery, Lincoln Center, the Fellowship of the Pennsylvania Academy of the Fine Arts, the Franklin Institute, the Kitchen, the Knitting Factory, and many others.

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After creating early computer work in the late 70’s and early 80’s in the East Village and downtown NYC organizations and clubs, he co-founded RYO, an experimental art and technology artists' space in the East Village from 1984-1992 that enabled artists to experiment with new forms of art and technology. RYO’s shows included the first NY SIGGRAPH gallery show, the Un der Tech series of computer-related shows, and the EVTV: East Village TV series.

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He has been associated with the Interactive Telecommunications Program at NYU’s Tisch School of the Arts and NYU’s Gallatin School of Individualized Studies since the mid-80’s and early 90’s, has taught for more than 25 years as an adjunct at NYU, and over 20 years full time at the College of New Jersey, where he is Associate Professor and founding chair of the Interactive Multimedia department.