Black Fowl Reflection, 2008, mixed media, dimensions vary.

This piece consists of a bird made from black construction paper that stands over a record player spinning one of my records.  The bird is wired up with electronics.  It moves, pecking and scratching at the record, playing the record with it’s beak, in which, a record stylus is wired.  Shown installed at Looking Back: The White Columns Annual selected by Jay Sanders.

photo by Ron Amstutz

photo by Jay Sanders

Multimedia performance, 2008, Issue Project Room, Brooklyn, NY,

photo by Haeyung Thayer

Collaborative Performance, Amolvacy with Tom Thayer, 2008, Monkey Town, Brooklyn, NY.

The band, Amolvacy, performing improvised music accompanied by my projected animation, 40 min.

Sketchbook, Click here to see a sketchbook from 2003-2007.

Still from Scenographic Play, 2010, cardboard, string, wire, electronics, animation, video manipulation and live music, dimensions vary.

A performance for Incohative Listening + Centerless Portrayal, an immersive night of four-hour long performances organized by Keith Connolly and Jay Sanders for the Knight’s Move performance program, SculptureCenter, Long Island City, NY, 

Puppet, 2009, mixed media, 58 x 14 x 3”

Witchy Toy Ride, 2008, sound art LP, altered toy record player and slide-stick of bird images from collaged paper. Used as performance object, 15 x 14 x 11".

Congregation, 2010, corrugated cardboard, crayon, masking tape, string and wire, shown installed at SculptureCenter, Long Island City, NY, dimensions variable.

Crystal Staircase (two views of sculpture), 2009, mixed media, 79 x 9 x 16"

Poppets, 2010, Installation of puppets and fiber-painting backdrop, mixed media, dimensions vary. 

Considering the Moons and Stars 2011, Mixed Media, 32x27.5”.

Scenographic Play, 2011, exhibition view.

Nature Scene, 2011, paper collage, dimensions variable.

A Gesture in the Quiet of the Witching Hour, 2011, mixed media on canvas, 53..5 x 62.5”.

Scenographic Play, 2011, animation and performance stills.

This Life is Nothing More than Waiting for the Sky to Open, 2011, mixed media on canvas, 72 x 48”.

Ialas Salandiw Heads (puppets used in No-Neck Blues Band music video), 2008, paper, tape, graphite, 13 x 17.75”.

Ialas Salandiw Figures (puppets used in No-Neck Blues Band music video), 2008, paper, tape, graphite, 12.25 x 18”.

Paper Puppets and Scenery from The New World Pig, 2009-2010, paper, tape, graphite, 20.5 x 19.75”.

Paper Puppet and Scenery from The New World Pig, 2009-2010, paper, tape, collage, graphite, 12 x 17.75”.

Paper Puppets from Animations, 2005-2009, paper, tape, collage, 13 x 17.75”.

Candied Owls (puppets used in Tunnel Jerk/Candy Mouth animation), 2010, paper, tape, collage, 11.5 x 17.75”.

Paper Puppets from Old Smelly Haircut, 2008, paper, tape, collage, 8.75 x 23.75”.

Paper Puppets and Scenery from Old Smelly Haircut, 2008, paper, tape, collage, graphite, ballpoint pen, 12.75 x 18.5”.

Stills from Ialas Saladiw, animated-puppet, music video for the No-Neck Blues Band, 2009.

Stills from Old Smelly Haircut, 2008, cut-out animation and sound, 03:14.

Stills from Tunnel Jerk, 2010, cut-out animation and sound, 05:56.

Sometimes displayed as an object, playing looped on an analog television, as pictured below.

Tunnel Jerk, 2010, cut-out animation and sound, 05:56.

Tom Thayer and Dave Miko, New World Pig installation view, The Kitchen, New York, NY.  A new world pig allotropic, 2010-2011, enamel on aluminum on shelf with video projection, 32 x 32”, 27:10, and Camber Clamber Squinch Winch, 2010-2011, oil and enamel on aluminum with video projection, 60 x 66”, 07:55.

Tom Thayer and Dave Miko, New World Pig installation view, The Kitchen, New York, NY.  A figure’s strange triggered change, 2010-2011, enamel, ink and lacquer on aluminum with video projection, 24 x 25”, 04:30, Moonlight’s from sunlight as hunter’s from hound, 2010-2011, enamel, ink, lacquer and chalk on aluminum on shelf with video projection, 31 x 32”, 00:50, and Nostrum Rostrum, 2010-2011, enamel on aluminum on shelf with video projection, 32 x 30”, 01:40.

This is a collaborative project that Dave Miko and I do together.  These images are from our show at The Kitchen in 2011.  We made video paintings.  My animations were projected onto Dave’s enamel on aluminum paintings.  Both elements were specially designed to work together and do very strange things. Looking at the paintings in real life is a very different experience than looking at a video or a painting on their own.  It’s a mesmerizing experience, kind of like watching a fireplace.

It’s very difficulty to tell what is painted and what is animation. The paintings give off an undulating, sometimes holographic quality as they slur their tale. The light and paint both receding into, and float off the aluminum.  It’s something that the flatness and stillness these photos just doesn’t capture. But you get some sense of their transformative power when you look at the six images below and consider that they are all the same panting, just at different moment in time.  

Dave described the effect of this work nicely, saying it “has the aftertaste of licking a 9 volt battery”.

Performance and animations stills from Scenographic Play, 2010, mixed media performance for Dave Miko, MoMA PS1, Long Island City, NY.

More collaboration with Dave Miko. Dave invited several artists to do performances in front of his display of paintings at MoMA PS1 for Greater New York 2010.  I performed a photoplay score to my projected animation of a grim character that dismantles Dave’s show, then wraps it up in an afghan, beats a hole in the wall of PS1 with one of Dave’s long, thin paintings and stuffs the art exhibit into the wall, and into another dimension.