All materials uploaded here are ordered as they were referenced in the Artist Statement.

Scroll down to find your file; or, find The Evening Pink here, Mickey here, and The End here.

Instructions for viewing the videos can be found below each file.

 

 

Please watch two minutes: 0:54 - 3:00

"Shock and Awe: Special Edition"  

Regarding the making of the physical object and the historical and theoretical underpinnings of the wider project – book, special edition, performance, and tour. 

 

 
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Daily News, 2001 The Year in Pictures (Newspaper scrap with the twin towers removed, found, December, 2001)  

From Shock and Awe – A twelve-year, autobiographical project examining the relationship between protracted war and homeland decay, Shock and Awe is a meticulously crafted image, text, and found object journal that blurs the line between author and subject, and personal and authoritative histories.

 

 
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After the 4th of July, Naknek, Alaska  

From Shock and Awe

 

 
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Freda, 91, Queens, New York  

From Shock and Awe

 

 
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Tour Promo GIF, 2016 – #shockandawebooktour

After the release of Shock and Awe (First Edition), in 2015, a performance and touring social gathering quickly emerged. Ultimately, between 2015-2017, the Shock and Awe Tour traveled to 100 Universities, Museums, and Public Spaces across 14 countries.  

"The Shock and Awe Tour returns the journal to the people and places depicted, bringing author, subject, and viewer into an exploration of the total meaning of the work. Due to the interdisciplinary nature of the project, the performance of Shock and Awe is equal parts story-telling, show-and-tell, and group discussion.

"Borrowing from American folk traditions, Shock and Awe is a performance of first-person authorship. The project unfolds in real-time, foregrounding the fraught transformation of memory into document, providing a vehicle to revisit the period since 2001. It is both a primer on recent history, and a call to gather and challenge the emergence of fascist tendencies across the Western World."

 

 

Please watch one minute and twenty seconds: 32:00 - 33:20

From Shock and Awe – performance at the San Francisco Public Library, 12/14/16

This segment discusses a particular photograph, Los Angeles, March 20, 2003, which is the day the United States invaded Iraq, and addresses issues of historiography, memory, and the affect of trauma on personal and national myth making. 

 

 

The Evening Pink – Installation of photographs and the 35mm Silver Nitrate Film, Mickey, San Francisco, 2017

The Evening Pink is an Anti-Western addressing questions of violence, nature, and the place of man in a landscape severely affected by Climate Change. An allegory about climate-violence, and the American Mythology, the project is comprised of large-scale, unique, pigment-transfer photographic prints and film-based works shot between the Pacific and interior West, often during fire, drought, and other contemporary climate disasters. 

 

 
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Mickey

While shooting The Evening Pink, a 35mm silver nitrate film (circa 1918) was found in an abandoned, underground cinema in the New Mexico high-desert. After one year of reconditioning, Mickey was unearthed. The film was ultimately able to be scanned, revealing a film with startlingly relevant themes to The Evening Pink, as both the depicted image and the surface of the media have been altered through 100 years of climate. Mickey is shown in tandem with The Evening Pink, and has led to its ultimate realization. 

 

 

Mickey – live performance, September, 2016. 

Sound: captured from soundboard, live. The composition was developed with Navajo time signatures, but also configured to the frame rate. Through improvisation and careful study, this was matched to the disintegration pattern on the film. 

Note: there have been no edits to this film, nor to the sound. The disintegration of the silver nitrate, and explosion of oxidized color, at the end of the film is the result of 100' years of drought and flood. It is coincidental that this occurs as the depicted scene reaches its climax – as the banker signs the order foreclosing on the miners' home. 

Two more clips — 00:15-00:45 and 11:30-12:00

 

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The End — Film Trailer GIF, 2018

Full Film: here — Password: videolinks

While making The Evening Pink, it was noted that the photographs appeared reminiscent of the closing scene in a classic Western. To verify this, 100 films were deconstructed. The last scenes were re-configured, revealing patterns. After violence, destruction, the possibility for transformation is suggested, if only beyond the edge of the frontier. The End situates the conclusion of the classic Western in a contemporary context, where climate change looms and beckons as an imperceptible — yet constant — force on the horizon.

 


 

The Evening Pink – Installation of photographs and the film, The End, San Francisco, 2018. 

The End is displayed within a television sculpture. The television has been chosen as it was manufactured in the year coinciding with the most recent film depicted (~1979). A media player is installed within the television, with a modulator to convert the digital frequency to CRT.   

Full Film: here — Password: videolinks