Nina A. Isabelle is a multidisciplinary artist working with abstract painting, performance art, video, photography, sound, and sculpture. HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... PAINTINGS 2016 20-2016 22x30, oil paint on paper 19-2016 22x30, oil paint on paper 18-2016 22x30, oil paint on paper 17-2016 22x30, oil paint on paper 16-2016 22x30, oil paint on paper 15-2016 22x30, oil paint on paper 14-2016 22x30, oil paint on paper 13-2016 22x30, oil paint on paper 12-2016 22x30, oil paint on paper 11-2016 22x30, oil paint on paper 10-2016 22x30, oil paint on paper 9-2016 22x30, oil paint on paper 8-2016 22x30, oil paint on paper 7-2016 22x30, oil paint on paper 6-2016 22x30, oil paint on paper 5-2016 22x30, oil paint on paper 4-2016 22x30, oil paint on paper 3-2016 22x30, oil paint on paper 2-2016 22x30, oil paint on paper 1-2016 22x30, oil paint on paper 1/1

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... THE HYMN WARP TRANSDUCER The Hymn Warp Transducer was performed as part of Paul McMahon's Woodstock Invitational for The Bedstock / 👁❤️🦄 Exhibition. 9 Herkimer Place in Brooklyn, NY APRIL 15, 2018 Concept & Performance: Nina Isabelle / Slide Guitar: Ever Peacock / Vocals: Abacus Haste / Rhythm: Simon Ample / Documentation: Amelia Iaia. Using mouths, machines and tools to convert internal physical sound qualities into noisy output and a visual heap, Appalachian Abacus Haste melds converted hymns with Ever Peacock’s spooky loop-slide guitar sounds and Simon Ampel's rhythms while Nina Isabelle frames the operation in a warped slipshod suffocation structure. Hymn Warp Transducer Concept & Performance: Nina Isabelle / Slide Guitar: Ever Peacock / Vocals: Abacus Haste / Rhythm: Simon Ample / 2D Art: Paul McMahon / Documentation: Amelia Iaia Hymn Warp Transducer, Nina Isabelle Concept & Performance: Nina Isabelle / Slide Guitar: Ever Peacock / Vocals: Abacus Haste / Rhythm: Simon Ample / 2D Art: Paul McMahon / Documentation: Amelia Iaia Hymn Warp Transducer Concept & Performance: Nina Isabelle / Slide Guitar: Ever Peacock / Vocals: Abacus Haste / Rhythm: Simon Ample / 2D Art: Paul McMahon / Documentation: Amelia Iaia Hymn Warp Transducer, Nina Isabelle Concept & Performance: Nina Isabelle / Slide Guitar: Ever Peacock / Vocals: Abacus Haste / Rhythm: Simon Ample / 2D Art: Paul McMahon / Documentation: Amelia Iaia Hymn Warp Transducer Concept & Performance: Nina Isabelle / Slide Guitar: Ever Peacock / Vocals: Abacus Haste / Rhythm: Simon Ample / 2D Art: Paul McMahon / Documentation: Amelia Iaia Hymn Warp Transducer Concept & Performance: Nina Isabelle / Slide Guitar: Ever Peacock / Vocals: Abacus Haste / Rhythm: Simon Ample / 2D Art: Paul McMahon / Documentation: Amelia Iaia Hymn Warp Transducer Concept & Performance: Nina Isabelle / Slide Guitar: Ever Peacock / Vocals: Abacus Haste / Rhythm: Simon Ample / 2D Art: Paul McMahon / Documentation: Amelia Iaia Hymn Warp Transducer Concept & Performance: Nina Isabelle / Slide Guitar: Ever Peacock / Vocals: Abacus Haste / Rhythm: Simon Ample / 2D Art: Paul McMahon / Documentation: Amelia Iaia Hymn Warp Transducer, Nina Isabelle Concept & Performance: Nina Isabelle / Slide Guitar: Ever Peacock / Vocals: Abacus Haste / Rhythm: Simon Ample / 2D Art: Paul McMahon / Documentation: Amelia Iaia Show More

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... ART/LIFE KINGSTON CLARA DIAMOND & NINA ISABELLE 2016

Nina A. Isabelle is a multidisciplinary artist working with abstract painting, performance art, video, photography, sound, and sculpture. HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... JSP PLUMBING COMMISSION NOVEMBER 2016 These are 24x36 digital photo collage prints done for the office space of JSP Plumbing in Kingston, NY. I photographed tools and material from the JSP Plumbing shop and warehouse as well as the surrounding industrial landscape to form the final imagery. JSP 6 JSP 9 JSP11 JSP 2 JSP 8 JSP10 JSP 4 JSP 7 JSP 3

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... THREE PHASE 3607 ATWOOD RD. STONE RIDGE, NY email: threephasecenter@gmail.com www.threephasecenter.com Located in Stone Ridge, NY Three Phase is a place to formulate, find, construct, propose and articulate with information derived from process-based art actions, object construction, performance, experimentation and outcomes. Three Phase is dedicated to supporting and reframing the utility of art practices that aim to sort and solve problems of language and perception by offering an array of workshops, services, studio & lab time as well as space for performance art, movement and sound exploration. Three Phase Center is a Woman-led organization - conceived, owned & operated by Nina Isabelle.

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... ACTIVATING PERCEPTION - NINA A. ISABELLE MIDTOWN ARTS DISTRICT by Debra Bresnan May 10, 2017 https://madkingston.org/2017/05/09/nina-a-isabelle/ When did you first know you were an artist? Growing up people referred to me as an artist and so I became one – an experience that made me aware of the power of language, perception, belief, and social programming, all themes in my current work. It’s possible that if I had grown up in a different environment I might have been an engineer because as an artist I’m always working with how things like concepts of memory and phenomena articulate with visual and spatial perception, language, materials, and meaning and how to build generative dialogue between these factors. Where an engineer might work with materials, data, or electricity, as an artist I use a similar approach but with different variables. Favorite medium(s) you use to make art? My favorite art medium is probably the phenomena of perception and how language builds reality. Right now my focus is on working to manipulate and bend notions surrounding the value and usefulness of art away from commodity and towards structures that represent essential and social value. Inside of this, working with painting I can still have an intention to study gesture, motion, and look for new languages that might emerge from this action and mark making or find new information in whatever emerges. I like to get my hands on chunks of materials like vats of clay, lumber, bolts of fabric, or discarded machine parts and sort of grapple with the stuff until it gives in to another form. Sometimes I might start out with an intention or give myself an assignment, but other times I let myself generate information by engaging with materials and paying close attention as I go. Since I work pretty equally with photography, video, design, performance, installation, and painting, nothing is really off limits to me. I grew up at a summer camp for kids where we had an arts and crafts department with a ceramics studio, photo lab, leather tools, batik, enamels, silk screens, and fabric dye, among others. Nine months out of the year these departments were vacant and I really made the best of it – I learned to use the kiln and glazes by haphazardly blowing up and melting a lot of stuff, mixing chemistry by taste, a lot of other experimental and dangerous learning-by-doing that has carried over to my current approach. I never read instructions as a younger person because I couldn’t really read until I went to college. I’m rarely intimidated by new things, and I think that’s one of my favorite things about my development and approach. What are the most interesting new trends in your field? Is your work changing as a result? One of the most exciting things I notice right now is a shift toward recognizing the social value of art as a tool to reframe reality through community building, open sourcing ideas and data, and through things like artist collectives and working together with other artists and community members. In the art world, there are always these superficial fads like geometric shapes or graffiti, or some new trendy material, or something everyone is doing like such-and-such, but my work doesn’t usually wind up aligning itself with those sorts of cultural flows. I don’t usually find myself in trendy circles — something that has made it difficult to find a community but also has led me to the point where I am now. I recognize that, all along, my running mission has been to challenge outmoded institutional and economic systems that have grown regulated and insular and to work to build systems to replace these. Artists are always pressing hard against hierarchal structures like gender, race, and social class: It seems like the discord generated by our new political administration is influencing a lot of art thinking these days. Talk about your creative process – where/when do you get most of your ideas and how do you know a piece is ‘finished’? My creative process is rooted pretty firmly in letting myself respond instinctively. One thing I often find myself doing is trying to destroy rosy notions that abound around creativity being “beautiful.” Being a person who has given birth to babies I recognize the mess, blood, and pain that goes along with creativity. I have a lot of ideas and mostly I choose to go with the ones that make me laugh about myself or our collective idiocy. I also like to work with themes that irk me such as fake systems of legitimization we use to determine success, such as university degrees, financial values and the gender and power imbalances that seem to perpetually skew the art world. Making art objects like paintings and sculptures, and grappling with material and concepts together, I’ve questioned the point of it beyond decoration or commodity and have come to understand my process as a personal tool that lets me understand reality in a way that I can integrate. Working with materials and visual information puts me in touch with deeper threads of meaning, and nuances of life that fortify the tapestry. I’m drawn toward this way of working and thinking because there seems to be something I can’t quite say in writing or speaking, something linear language can’t quite get at. I don’t know what it is yet and that’s what keeps me engaged. As far as recognizing when something is finished, I think it’s just a matter of paying attention to a subtle feeling of “doneness,” or arriving at a comfortable stopping point or a feeling of resolve – like I’ve figured something out or said what I meant to say. Sometimes a stopping point might never come because maybe I’ve gone down on a dead-end path. I have a lot of projects in limbo because they’ve become overwhelming or I’ve lost interest, things I can always get back to at any point. And, in a quantum way, things can never be finished because time isn’t linear and there’s no such thing as an end point. Do you also teach or are you strictly a creative artist? Who was your most influential mentor and why? How do you see the role of being a mentor? and why? In the past, I’ve taught art classes like photography, modern dance, and painting or movement workshops. There is always a technical entry point where students spend time learning about say, the camera machine, visual mechanics, basic movement patterns, or just becoming familiar with materials, and this can be a fun and engaging way for people to come together. But I always want to move further into dialogue about how the usefulness of these art tools and practices can be more than a fun pastime or therapeutic hobby. Art offers invaluable ways to shift perception and find new vantage points. As an artist, I collaborate with others in several capacities that seem more like mutual mentorship, where we share and build upon each other’s momentum and concepts. I’m not sure that I’ve ever fit the part of strictly a mentor to another, but I do recognize people who’ve inspired me. I had a couple high school teachers who helped me to evade attendance, something that in a typical case might not sound helpful, but I really recognize and value people who have taken risks in order to do the right thing morally. School is not a good place for all children. I can’t say that I’ve ever had a strong relationship with an individual mentor, but something that intrigued me early on was finding and building obscure relationships between seemingly unrelated artists and their work. I remember wondering about Käthe Kollwitz’s Woman With Dead Child in relationship to Henry Moore’s sculptures and sheep sketchbook, and Jim Dine’s Robes. Somehow the similar volume expressed in these works was curious to me, possibly as a subconscious desire to connect the physical form of my body to their work because I’ve always been athletic. I was also intrigued by industrial design and how humans interact with tools and objects, especially mid-century chairs like the Eames Lounger and Bertoia’s designs as a framework for simultaneously supporting physical and thought forms together. So in a way, I’ve let this sense of wonder guide me. What are you working on now? For the past year, I’ve been working on a project called The Superfund Re-Visioning Project . It’s an experimental framework that aims to transform contaminated industrial sites recognized by The United States Government as Superfund Sites. In New York State there are 117 of these sites. I’m developing a project that aims to create a platform for artists and community members who might otherwise be marginalized by political and financial systems that typically deal with these sorts of remediation. I’m also involved with an artist collective developed by IV Castellanos called The Feminist Art Group (F.A.G.) from Brooklyn, and plan to invite them to Kingston this summer for one of The Shirt Factory Open Studio events. Currently, I have a show at the new HiLo gallery space in Catskill and like to participate in local shows at The Old Glenford Church Studio . I think it’s great when things like The UNITY show curated by Sarah Carlson and Lisa Barnard Kelley between the artists at The Shirt Factory and The Lace Mill come together to fortify community connectedness. Upcoming, I have work being featured by The Unstitute in Catalunya, Spain and plan to do something fun at Paul McMahon’s Mothership Gallery this fall. Recently my focus is moving into sound and auditory perception. I’ve become interested in digitally degraded sound snippets and obscuring auditory input to the point of noise in a way to find out what’s behind and within the experience of sound. For more information about my work and listings of recent/current exhibitions, projects and collaborations, please visit www.ninaisabelle.com/cv . How has being in Kingston enhanced/inspired your work? What do you like best about living in Kingston/being involved with MAD? How long have you been here? Kingston has a lot to offer artists and community members and is building momentum as an arts-branded district. Recently we’ve seen several exciting places pop up like David Schell’s Green Kill , Rilley Johndonnell’s Optimism concept, Broadway Arts , The Art/Life Institute on Abeel Street , and Kingston High School Art teacher Lara Giordano, who is exhibiting student work at PUGG on Broadway. The surrounding landscape is diverse and inspiring conceptually because of the Hudson River waterways, The Catskill Mountains, The Ashokan Reservoir, and the surrounding forests, hiking, and rail trails. The Mid-Hudson Library system is phenomenal, and it’s easy to travel back and forth to New York City from Kingston. It’s great to have artist studio spaces like The Shirt Factory and The Lace Mill which offer affordable living spaces for artists, and especially new organizations like MAD that are forming to support this new movement.

Nina A. Isabelle is a multidisciplinary artist working with abstract painting, performance art, video, photography, sound, and sculpture. HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... THE PAIN PROJECT MARCH 2015 The Pain Project revisits eight physical injuries and is meant as an exploration of where pain is held in the physical body and how it changes with time. Each piece was made by applying paint to paper using the affected body parts. 3rd Metacarpal of Left Hand , 44x36, tempera paint on paper Broken 3rd Metacarpal of Lett Hand: When I was in 3rd grade I broke the 3rd metacarpal on my left hand doing a back-handspring on the trampoline at The Nittany Gymnastics School in State College, PA. Initially I thought that I had just cracked my knuckle in a painful way but later that day when I was asked by my instructor to do a glide kip on the bars I noticed that there was a sharp pain in my hand. My instructor assumed that I was lying in order to get out of class. I felt conflicted by her accusation, so I tried to swing from the bars again but it was still painful. Was I imagining it? Maybe I just hated doing gymnastics? I began to question my perception of pain within my physical body, I couldn’t tell if I was hurt. That night I told my Mom that I thought I had hurt my hand. She said she would take me to have an x-ray in the morning, but my Dad told her it was not broken, there wasn’t enough swelling, to leave me alone and it would be fine. They fought about it but she took me anyway and it turned out to be broken. They wrapped it up with a plaster cast. Frontalis Bone , 44x36, tempera paint on paper Multiple Concussions: Due to skateboarding and snowboarding I have been knocked unconscious several times. Once I hung up and fell to my head on a mini-ramp and was knocked out for several seconds. When I opened my eyes a man who was there said “Don’t move, I’m going to get your Dad.” I didn’t move. When the man came back he said, “Your Dad says to get up, that you’ll be fine.” The first time I dropped in on a vert ramp everyone told me, “Make sure you lean forward!” I dove from the top of the 12 foot ramp to the bottom, landing head first. I felt dizzy and was giddy but thought it would be a good idea if I tried again. Everyone was yelling “just sit down, don’t get up!” I tried again. On the way home I felt nauseous, my friend had to drive, I threw up on the side of the road. The worst time was when I dropped in on an 7 foot quarter pipe that went onto an asphalt street course. My wheel ran into a piece of gravel and it caused my board to stop rolling, I fell right onto the front of my head. Right in my hairline, directly above my right eye, a large lump instantly grew straight out of my skull, like when cartoon characters get hit with a bat. I had a lump that was as tall as a spool of thread sticking straight out of my head, like a horn! I couldn’t stop laughing, time was distorted, I was delirious. The person I was with took me to the E.R. I had a concussion, they said to wake me up every two hours. The lump turned to dark colors, and then eventually drained into both my eye sockets. I had two black eyes, like a raccoon. I was in Art school at the time, my painting teacher took me aside and asked if I was experiencing domestic violence, he was convinced that my boyfriend was beating me, I couldn’t stop laughing. My skull is indented in that spot. To this day If I touch it with my finger my heart starts racing and my throat clenches shut and it becomes hard to breath. Right Hip , 44x36, tempera paint on paper Multiple contusions on right thigh, inferior lateral aspect of the greater trochanter of femur : At age 14 I was doing a balance beam trick called a Gainer Layout Step, where you sort of fling yourself up in the air and do a no-handed flip and land on one foot. I missed my landing foot and landed on the lateral aspect of my thigh resulting in a giant black and blue mark. Shortly after that I was required to have a physical for school, the nurses saw my bruises and asked if I “had a happy home life.” They sent me to the school counselor who asked me if I drank or used drugs or if I had been exposed to domestic violence. She didn’t believe my answer, that I had “fallen off a balance beam.” Many years later, I was doing a 50/50 grind around a bowl corner on my skateboard, and when I went to go back in my back trucks hung up on the coping, causing me to slam into the bottom of the 5 foot deep bowl with full force, directly onto my right hip. It swelled up instantly, looking like an enormous raspberry scone stuck to my thigh. Blood and yellow fluid began to push out of my pores and flow down my leg. I’d wake up with the bed sheets stuck to my thigh each night, eventually there was a scab the size of my entire hand. My thigh was swollen fat and wiggly like it was full of jello. I couldn’t put on pants and had to wear skirts for weeks, I had an unbelievably huge and disgusting scabby, black-and-blue thigh. To this day, over 20 years later, I still have a lump of scar tissue the size of a small lemon inside my lateral thigh. It is still surprisingly painful to touch. I call it my “perma-bruise.” Lateral Malleolus of Right Fibula , 44x36, tempera paint on paper Undiscovered Broken Lateral Malleolus of the Right Fibula : I had sprained my right ankle several times doing gymnastics, it usually took 3-4 week to feel completely better. The usual protocol involved sticking my foot in a bucket of ice water several times a day, continuing to try to walk on it so that I wouldn’t loose mobility, and wrapping it tightly with athletic tape so that I could get back to training as soon as possible. I had been through this injury several times. When I was 15 I took up skateboarding instead of gymnastics. One time I dropped in off of a ledge that went to a bank and my front right foot rolled under. I wound up landing on top of my crumpled foot with all of my weight from several feet in the air. It was so painful, I was frozen and unable to make a sound or move. Nobody in the crowded building recognized that I was injured. I slowly and quietly moved myself across the concrete floor toward the exit and crawled on one knee with my ankle in the air, very delicately and smoothly, down the hill to where the athletic trainers were. They looked at my ankle and said I would need to get an x-ray, then I was given a ride home. I called my Dad, who said “No, you don’t need an x-ray, it’s probably just a bad sprain, just ice it.” 4 weeks had gone by and I was still not able to put much weight on my foot. I kept trying to walk normally, and just wrapped it up tightly with athletic tape. It was over 2 months before I could walk without pain. My boss and other people implied that I was faking an injury for special attention, so I made a point to conceal my pain. When I was 36 I sprained my ankle again while bouldering. I had it x-rayed and they said, “It’s not broken now, but we can see where it has been broken previously in several places.” My ankle has never recovered from this, it is extremely sensitive and I can’t allow anything to touch it, the lightest tap makes me yelp. Dragging it across the paper for this project was excruciating, I almost cried. This injury is 18 years old and has not left my body yet. Occipital Bone , 44x36, tempera paint on paper Bad Neck Injury: I’m not sure what happened to my neck. I over-rotated a double back flip on the trampoline and was about to land on the back of my head. My friend dove toward me to stop my rotation before I landed but his fist wound up right in the back of my neck when I landed with my feet crumpling over the top of my body. My entire head and neck were tingling and making crackling sounds, it felt like fluid had been blasted up my nose. I crawled off the trampoline and took myself home. I took some Advil, put a bag of frozen peas on my neck and tried to sleep. I couldn't move for days, the phone had been ringing but I couldn't get to it. I finally crawled to the kitchen 2 days later to eat, but wound up on the floor in pain. I made an appointment with a chiropractor but he needed to see an x-ray. I didn't have insurance so I just waited for it to get better. I have a lump the size of a walnut at base of my occipital bone on my right side. It hasn’t gone away yet, sometimes I have sharp, shooting pains if I turn my head a certain way. Contusions on Lungs , 44x36, tempera paint on paper Contusions on Lungs, Cracked Tooth: When I was 16 I was snowboarding on an icy slope with my friend. Something happened and I wound up in the air face-first and landed on my chest and face. I knocked the wind out of myself and banged the front of my face and head onto the ice. I started laughing really hard, blood gurgled up from my throat and sprayed onto the snow, then I spat a tooth into my mitten, I couldn’t stop laughing. My friend asked if I was okay and I couldn’t stop laughing, I said that I was okay, but he took me to the hospital. They x-rayed my lungs because of the blood coming out of my throat, it had a contusion. The next day I went to the dentist and he made me a new tooth out of putty, I still have it. Lateral Deltoid 44x36, tempera paint on paper Separated Right Shoulder: When I was 16 I was skateboarding on a 5 foot mini ramp inside of a metal building near my home. My back trucks hung up on the coping and I fell to the flat bottom landing on my shoulder. I tried to leave the building but couldn't open the door because I needed to hold my right arm onto my body with my left arm. I tried for a while to open the door with my foot, or to unlatch and slide the barn doors open with my legs. Eventually I managed to open the door and walked home. My parents were upset with me for being late for dinner. My Dad gave me a sling for my arm, and we tied my arm to my torso for several days until it tightened back onto my body. Sacrum / Coccyx , 44x36, tempera paint on paper Possible broken or subluxed coccyx or sacrum: My skateboard slid out from under me and I landed on my tail bone on a metal pipe. I was able to get home and go to bed. In the morning I was in so much pain, I couldn't stand upright. I walked slowly, bent over all the way, to the bathroom, then back to my bed. My parents didn’t know I was hurt. They kept yelling for me to “Make sure you don’t miss dinner at camp, we don’t have any food at the house!” I couldn’t get out of bed, I was so hungry. I never saw a doctor.

Videos by Nina Isabelle HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... MISC. VIDEO e845 / November 7, 2016 Candle Sounds / July 16, 2016 Domestic Loops / November 1, 2016 The Hollow Stump / November 7, 2016 At The Ashokan Reservoir / March 2016 Double Slit July 16, 2016 1:01 Referencing the magical incantation “As above, so below” from Hermetic Alchemy and Thomas Young’s original Double-Slit Experiment from 1801, Double Slit asks- does science suggest that man’s actions on earth might parallel actions within infinite multiple invisible lateral physical dimensions? The Long Sounds That Pull December 5, 2016 7:00 This is modified sensory input that has been stretched between several physical and psychic locations referencing a double decade point three cassette recorded postal anniversary edition. The original human mouth sound recording was placed in a landfill located at latitude 38.643708 / longitude -107.006703 The Story Of Terror / The Ax In The Stump March 16, 2016 3:16 The Ax in The Stump tells the story of Terror- as both a fabled horse from a North Indian Fairy Tale and the torture that can ride through family histories for generations.

Handmade book by Nina Isabelle HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... Handmade Book 1992 7x9 This book was made using vintage photos, construction paper, and resin coated photo paper sent through a Xerox machine, map scraps, and electrical, scotch, and masking tape. I used a sewing machine to stitch it together. The book had been in storage for years and I decided to document it.

Things can be objects or subjects. While objects are tangible things abstracted from the particularness of subjects, subjects are the intangible concepts or notions we extract from objects. How do we process the intangible sense data we extract from encountering objects made of particles in the phys HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... TEN THOUSAND OBJECTIVES I was interested in trying to figure out how the body knows what it knows — specifically, the somatic experience of tangible material, the cognitive experience of intangible concepts, and the interplay between these four variables. I was also interested in how repetition seems to create the potential to sidestep consciousness, and I wanted to experiment with that notion to see if I could access different modes of perception or ways of knowing by engaging in a repetitive action for an extended length of time. In setting up the framework for this performance, I mapped out and identified all the parameters that I was able to. I decided on the timeframe and squared off the surface area of my work space. This gave me a way to control the tangible aspects of the performance. By laying out this semi-structured plan, I hoped to create a situation where intangibles and surprises could occur. Starting in the middle of an eighteen foot square of floor space, I set out to make one thousand pinch pots within a span of four hours. I imagined the pots would fill the entire work space and somehow be equally distributed. I counted the pots as I went along and kept track of them in ten groups of ten — something I realized was necessary as I went along and realized would be the only way for me to know when I was done. I was surprised to find that, at the end of the four hours, and down to within a few minutes, I had made the exact amount I set out to make. While I was working, the span of four hours seemed to shrink down to about the feeling of twenty minutes. These are the types of perceptive phenomena I’m interested in working with and demonstrating. How did these things happen so exactly with such little planning? How and why does time seem to stretch or contract depending on levels of engagement, intention, and focus? Things can be objects or subjects. While objects are tangible things abstracted from the particularness of subjects, subjects are the intangible concepts or notions we extract from objects. How do we process the intangible sense data we extract from encountering objects made of particles in the physical dimension and what do we call this process? What are the internal mechanisms we use to govern how we locate and position our physical selves in relation to objects in space? For this project, I constructed and deconstructed a batch of 10,000 intangible and tangible subjects and objects as a way to set both their physical and nonmaterial aspects free. Through forming a set of 1,000 physical objects made of clay with my hands, the conceptual intangibleness of their essence was simultaneously set free and bound as it transformed into material form. Conversely, intangible concepts were released from physicality through the gestural motions accompanied by the transmutation of 9,000 subjects into nonmaterial objects. Equinox: EMERGENCY OF JOY - 10,000 THINGS SET FREE Seventy one artists from around the world work together remotely and simultaneously over the spring Equinox. Organized by Chelsea Burton, Rae Diamond, Erik Ehn, Brenda Hutchinson, Suki O’Kane, “Ten thousand is rooted in the Buddhist concept of the ten thousand dharmas – an image for all observable reality." MARCH 19, 2020 11:49 PM EST - MARCH 20, 2020 1:49 AM EST (Equinox at 11:49 PM EST)

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... MOTHER VS GOD A short creepy video by Nina Isabelle September 28, 2016 The Dead Are Not Quiet was organized by Scott Mitchell Putesky, an artist and musician best known for his work as the guitarist and co-founder of the musical group Marilyn Manson. the exhibition will run concurrently with “The Haunted Art of T. Jefferson Carey. Exhibiting Artists in The Dead Are Not Quiet include Addison Stonestreet, Alex Ingram, Alison Chen & Michael Covello, Anne Pelej, Cayce Wheelock, Clayton Llewellyn, Dakota Noot, Dan Adams, Daniel Corona, David Russell Talbott, Emily Hastings, Eric Potts, Garrett Wear, Hannah Johansen, Hugh Schock, Ivy Guild, Janice Grinsell, Jenya Armen, John Purlia, John Straub, Julia Oldham, Karim Shuquem, Kurosh Yahyai, Larry Caveney, Liza Hennessey Botkin, Lucas Novak, Maidy Morhous, Michelle Mueller + Erik Mueller, Natalie Meredith, Nathaniel Clark, Nina Isabelle, PANCA, Paul Koester, Philip Petrie, Rita Miglioli, Robin Spalding, Shahla Rose, Sheena Rae Dowling, Wick Alexander, and Yvette Jackson.

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... CITIZEN PARTICIPATION: DIAGRAMS & DIRECTIVES FEMINIST ART GROUP (IV Castellanos, Amanda Hunt, Nina Isabelle & Thea Little) ABC No Rio in Exile at Bullet Space 292 E. 3rd St. NYC May 6, 2018 Organized by Esther Neff & Steven Englander Feminist Art Group Citizen Participation : Diagrams & Directives / ABC No Rio in Exile at Bullet Space / photos by Esther Neff Feminist Art Group / Thea Little Citizen Participation : Diagrams & Directives / ABC No Rio in Exile at Bullet Space / photos by Esther Neff Feminist Art Group Citizen Participation : Diagrams & Directives / ABC No Rio in Exile at Bullet Space / photos by Esther Neff Feminist Art Group Citizen Participation : Diagrams & Directives / ABC No Rio in Exile at Bullet Space / photos by Esther Neff Feminist Art Group / Thea Little Citizen Participation : Diagrams & Directives / ABC No Rio in Exile at Bullet Space / photos by Esther Neff Feminist Art Group / Nina Isabelle Citizen Participation : Diagrams & Directives / ABC No Rio in Exile at Bullet Space / photos by Esther Neff Feminist Art Group Citizen Participation : Diagrams & Directives / ABC No Rio in Exile at Bullet Space / photos by Esther Neff Feminist Art Group / Amanda Hunt Citizen Participation : Diagrams & Directives / ABC No Rio in Exile at Bullet Space / photos by Esther Neff Feminist Art Group Citizen Participation : Diagrams & Directives / ABC No Rio in Exile at Bullet Space / photos by Esther Neff Feminist Art Group Citizen Participation : Diagrams & Directives / ABC No Rio in Exile at Bullet Space / photos by Esther Neff Feminist Art Group / IV Castellanos Citizen Participation : Diagrams & Directives / ABC No Rio in Exile at Bullet Space / photos by Esther Neff Feminist Art Group Citizen Participation : Diagrams & Directives / ABC No Rio in Exile at Bullet Space / photos by Esther Neff Feminist Art Group Citizen Participation : Diagrams & Directives / ABC No Rio in Exile at Bullet Space / photos by Esther Neff

Interviews & writing HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... INTERVIEWS LINDA MARY MONTANO INTERVIEW 2020 ACTIVATING PERCEPTION Midtown Arts District 2017 ARTiculACTion 2016 Aaron Pierce February 2017 A: I am a graduate from Utah Valley University and I am writing a dissertation for the university's biannual Art History Symposium. The topic of discussion this year is Maximalism. I am particularly focusing on performance art as the contemporary medium that is reinventing museum spaces and engaging audiences by stimulating the senses more through music, dance, film, and painting combined. That is where your exhibit Animal Maximalism came to my attention. I am completely intrigued and enthralled by your performance art pieces and projects you have created. For this paper, I would love to have your view on performance art and Maximalism. I am interested in hearing some of your methods about performance art and Maximalism. It is rare in art history to be able to have contact with the artist, hence my excitement. If you do not mind sharing your opinion, I would like to know how you feel performance art engages audiences and pushes them to connect on a higher level to art? Also, why are we seeing a shift towards more performance art pieces in museums and galleries? I feel that audiences want to have a full sensory experience. How does Maximalist performance art achieve this better than other medium of art? N: I practice a process of allowance where I let myself do what I want. This approach results in maximum data and action. By letting myself engage with an array of modalities I can generate multiple outcomes and possibilities. Because I'm not limited to any single mode of involvement, I'm free to use painting, performance, photography, or video or a mixture of modalities as I find necessary depending on my agenda and instinct. This suits my athletic, resourceful, and determined nature. I approach performance art in the same way I would approach any other art modality- by paying close attention to gut instincts and psychic impressions in a process designed to override cerebral programming. The aim is always to align action with intention, and make note of the findings and outcome along the way. Performance art is a good choice when the concept I'm grappling with calls for a human body, action, or a narrative to actuate the outcome, especially literal concepts like worshiping the golden calf or using blood to cleanse things. My body can become a tool, a stand-in, or effigy of or for the viewer, creating a point of commonality to facilitate access. Aligning action with intention is also a way to re-frame ritual and an attempt to validate the effectiveness of approaches historically relegated to realms of religious structures and beliefs. I was recently invited to teach an art theory class for kids at The Hudson Valley Sudbury School. Through our discussions it emerged that the students felt most drawn to art practices and outcomes that suited the nature, mentality, and necessity of the individual artist. For instance they could relate to how Chuck Close became successful at painting faces as a result of his lifelong struggle with a facial recognition disorder. In reflecting on my personal method it occurs to me that my mode of operation is dictated by my nature, I didn't choose to function within the Maximalism approach and philosophy, it's just that the philosophy happens to align with my nature. I'm a serial over-doer of all things who relishes the opportunity to push things too far. My work is reactionary because I'm a reactionary person. For instance the first time I encountered minimalism I was ready to explode in a thousand directions. And, as an art student I couldn't help but challenge typical art professor's slogans such as "You have to know when to stop." Of course I could recognized the academically dictated stopping point but I would never in a million years stop there. I've always felt that learning how to challenge, push, or destroy something is a valid study when handled respectfully and with intention. Performance art is an another mode of operating for artists to use in order to find or generate new information, to experiment with creating new experiences, or to try to express something they otherwise couldn't. It can engage the viewer in an intimate way offering the potential to build powerful experiences as it facilitates a space that can involve and include the viewer in a novel physical or psychic way. It's possible that since performance art inhabits walking space where gallery-goers would otherwise be moving about, a psychic connection is created by sharing the same space. As viewers, we know less about what it would be like to hang motionless on a wall. Performance art offers a platform for artists to practice aligning action with intention, a way to possibly re-frame ritual and to build experimental new models for of control or power to replace outmoded religious structures and beliefs. But also, It's possible the performance art trend might be a way for artists to backhandedly confront consumerism and elitism simultaneously, or at least to create the illusion of doing so. Commercial galleries and academic environments can be market driven or exclusive, but performance art has the ability to dissolve those traditional notions and to expand viewership by engaging broader mentalities in a way that would be difficult for strictly visual work focused on heady concepts or dollar amounts. And since we live in a culture of visual bombardment, where viewer's digitally conditioned eyes and minds are increasingly savvy, and in conjunction with consumer programming, we need something that can function both inside of and outside of commercial gallery and academic paradigms. There is a literal dissolution of boundaries. Since performance art is impervious to ownership and commodification, it pushes against market-driven capitalist structures and challenges a system where finances determine success. Issues of marketability, ownership, or commodity all come into play because its difficult to financially capitalize off of performance art. So, maybe it's like most trends- timely and culturally necessity. I developed the Animal Maximalism exhibition concept as a way to bombard the human sensory input manifold with the intention of revealing cloaked information. I use the word "Animal" as an homage to instinct. For me academia operated through reversal, fueling my defiance more than refining me the way school is supposed to, so part of my mission has always been to build legitimate framework for us animals, one that is less cage-like, and Maximalism is a good framework for that agenda. I try to work within and build upon systems that already exist that might reflect and support my authentic nature, and to allow my work to reflect and be a response to the full spectrum of my body's biologic manifestation of its own history within its cultural environment. Maximalism feels like science-fiction, in that it offers the potential for system building where the inward personal landscape can travel all the way outward through the giant jumbled experience of collective household, community, country, and planetary psychic connections. Maybe performance offers an easier access point to the viewer in that we can all relate to each other as humans who are human shaped and have human form. We all share common ways of moving our human forms through space. It's possible that performance could function to create a portal, like a way out or a way in. The Cult of Painting by Nina Isabelle 2014 Painting is a visual, psychological, or metaphysical study or exploration of an object or non-object, a place or non-place, an inner, outer, or simultaneous multiple psychic dimensions, something other, all, or none of the above. Various viscosities of liquid or paste suspending colored pigments in oil, wax, synthetic polymer, or other, are sometimes but not always laid down, poured, sprayed, or applied by the hand as an extension or non-extension of the wrist, elbow, arm, shoulder, hip, body, outer-body, aura, transcended-self, future-self, or by proxy with either a brush, tool, or other, onto a solid or canvas surface in either multiple or single opaque or transparent layers or strokes resulting in a tangible visual object manifest in the physical dimension as having weight, height, depth, mass, and occupying an amount or volume of time and likewise resulting in an equal to, greater than, or less than physical, psychological, or spiritual impact of understood or non-understood ethereal consequences within an inverse unquantifiable psychic dimension. The conception, execution, and result will or won't be quantifiable by subsets of verbal language, written or spoken, which may or may not contain specialized terminology.

This video documents time travel research conducted at The Panoply Laboratory in Brooklyn, NY on February 4, 2017 and is part of Panoply Laboratory's ongoing re HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... TIME TRAVEL RESEARCH REPORT PANOPLY PERFORMANCE LABORATORY BROOKLYN, NY / FEBRUARY 4, 2017 This video documents time travel research conducted at The Panoply Laboratory in Brooklyn, NY on February 4, 2017 and is part of Panoply Laboratory's ongoing research practice initiated in 2014 titled Embarrassed of the Whole. By distorting temporal local perceptions the practice facilitates quantum nonlocality and manipulates the phenomenon of local realism in order to solve for one variable question: "Affectionately to what affect affectively?" Lab Technicians - Kaia Gilje, Nina A. Isabelle, Brian McCorkle, and Esther Neff Soundscape - Brian McCorkle Participant Subjects - Amelia Iaia, IV Castellanos, Jon Konkol, and Alice Teeple Photography - Amelia Iaia, Alice Teeple, and Nina A. Isabelle Video documentation and editing - Nina A. Isabelle Time Machine Etow at PPL Embarrassed of the Whole Time Travel Research February 4, 2016 Panoply Performance Laboratory Photo: Alice Teeple Time Machine Etow at PPL Embarrassed of the Whole Time Travel Research February 4, 2016 Panoply Performance Laboratory Photo: Alice Teeple Time Machine Etow at PPL Embarrassed of the Whole Time Travel Research February 4, 2016 Panoply Performance Laboratory Time Machine Etow at PPL Embarrassed of the Whole Time Travel Research February 4, 2016 Panoply Performance Laboratory Photo: Amelia Iaia Time Machine Etow at PPL Embarrassed of the Whole Time Travel Research February 4, 2016 Panoply Performance Laboratory Photo: Alice Teeple Time Machine Etow at PPL Embarrassed of the Whole Time Travel Research February 4, 2016 Panoply Performance Laboratory Photo: Amelia Iaia Time Machine Etow at PPL Embarrassed of the Whole Time Travel Research February 4, 2016 Panoply Performance Laboratory Photo: Amelia Iaia Time Machine Etow at PPL Embarrassed of the Whole Time Travel Research February 4, 2016 Panoply Performance Laboratory Photo: Amelia Iaia Time Machine Etow at PPL Embarrassed of the Whole Time Travel Research February 4, 2016 Panoply Performance Laboratory Photo: Amelia Iaia Time Machine Etow at PPL Embarrassed of the Whole Time Travel Research February 4, 2016 Panoply Performance Laboratory Photo: Amelia Iaia Time Machine Etow at PPL Embarrassed of the Whole Time Travel Research February 4, 2016 Panoply Performance Laboratory Photo: Amelia Iaia Time Machine Etow at PPL Embarrassed of the Whole Time Travel Research February 4, 2016 Panoply Performance Laboratory Photo: Amelia Iaia Time Machine Etow at PPL Embarrassed of the Whole Time Travel Research February 4, 2016 Panoply Performance Laboratory Photo: Amelia Iaia Time Machine Etow at PPL Embarrassed of the Whole Time Travel Research February 4, 2016 Panoply Performance Laboratory Photo: Amelia Iaia Time Machine Etow at PPL Embarrassed of the Whole Time Travel Research February 4, 2016 Panoply Performance Laboratory Photo: Amelia Iaia

MOTHERING looks at a child's nonverbal perception of the unspoken or hidden in relation to the improbability of a hierarchal god or mother. Multilayered family HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... MOTHERING NINA A. ISABELLE, EVER Z. PEACOCK, & SYLVIA ROSEKILL PERFORMANCE ART FARM ROSENDALE, NY JUNE 3, 2017 MOTHERING looks at a child's nonverbal perception of the unspoken or hidden in relation to the improbability of a hierarchal god or mother. Multilayered family video and sound are projected onto a quasi-defunct Airstream trailer behind the south barn at Rosekill Performance Art Farm while Mother and Son perform with gestural sound-loops and shrouded interpretive movement.

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... RINGING IN EARS OCTOBER 2022

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... EXPERIMENTAL ARCHERY & MARKMAKING WORKSHOP @ R O S E K I L L June 10, 2017

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... The Ear, Brooklyn, NY August 23rd 2019 VOICES & CHOICES Referencing the ways misperceptions of fear, safety, danger, pain and the body create difficulty when voicing choices, this performance was an exercise in decision making, speaking up, and the difficulty that surrounds these things. I welded a steel cage for my body that was also a percussion instrument to be played on and off the body. I constructed and wore a garment of half visually reflexive material and half acoustically absorbent foam. The performance audio included partially told stories, inaudible language, and uncomfortable loud sounds. Curated by Polina Riabova and organized by Oya Damla at The Ear in Brooklyn, NY. Photos by Kira DeCoudres

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... FEMINIST ART GROUP (F.A.G.) doing JUST SITUATIONS June 23, 2017 Grace Exhibition Space Brooklyn, NY "Just Situations is a hybrid conference, festival, and “political science fair,” hosting artists and active citizens who are working in performative ways, moving beyond the trending commercialization of art “about” politics, into non-representational and non-reproductive modes of performance which directly construct, speculate, design. position, and posit “just” forms of political, social, and personal human being and becoming." "States of unknowing, collectivity transcending and social becoming are workshopped and parsed, particulated and presented." JUST SITUATIONS is a project of the Brooklyn International Performance Art Foundation (BIPAF). BIPAF is an ongoing (since 2013), communal, and demi-anonymous/open-source platform for performance of socially-constructive institutional critique. https://justsituations.wordpress.com/ IMG_E6818 Thea Little, IV Castellanos Elizabeth Lamb Quinn Dukes Elizabeth Lamb Elizabeth Lamb Elizabeth Lamb Elizabeth Lamb Elizabeth Lamb, IV Castellanos 1/1

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... BEAST CONJURING at Paul McMahon's MOTHERSHIP Woodstock, NY January 16-21, 2018 On January 21, 2018 performers at Paul McMahon's Mothership in Woodstock, NY work to conjure the sea beast from the book of Revelation. Nina Isabelle at The Mothership The Beast at Mothership Lorene Bouboushian, Nina Isabelle, Brian McCorkle, Linda Mary Montano, Ever Peacock, Miles Pflanz, and Jennifer Zackin. Photo by Amelia Iaia Miles Pflanz at The Mothership The Beast at Mothership Lorene Bouboushian, Nina Isabelle, Brian McCorkle, Linda Mary Montano, Ever Peacock, Miles Pflanz, and Jennifer Zackin. Photo by Amelia Iaia Linda Mary Montano The Beast at Mothership Lorene Bouboushian, Nina Isabelle, Brian McCorkle, Linda Mary Montano, Ever Peacock, Miles Pflanz, and Jennifer Zackin. Photo by Amelia Iaia Nina Isabelle at The Mothership7509 The Beast at Mothership Lorene Bouboushian, Nina Isabelle, Brian McCorkle, Linda Mary Montano, Ever Peacock, Miles Pflanz, and Jennifer Zackin. Photo by Amelia Iaia NAI_7452 Nina Isabelle, Ever Peacock The Beast at Mothership Lorene Bouboushian, Nina Isabelle, Brian McCorkle, Linda Mary Montano, Ever Peacock, Miles Pflanz, and Jennifer Zackin. Photo by Amelia Iaia Beast Conjuring KILL Paper Collage 22x30 (rubberized paint, gouache, ash, enamel, watercolor) By Nina Isabelle The Beast at The Mothership The Beast at Mothership Lorene Bouboushian, Nina Isabelle, Brian McCorkle, Linda Mary Montano, Ever Peacock, Miles Pflanz, and Jennifer Zackin. Photo by Amelia Iaia The Beast at The Mothership The Beast at Mothership Lorene Bouboushian, Nina Isabelle, Brian McCorkle, Linda Mary Montano, Ever Peacock, Miles Pflanz, and Jennifer Zackin. Photo by Amelia Iaia Nina Isabelle at The Mothership The Beast at Mothership Lorene Bouboushian, Nina Isabelle, Brian McCorkle, Linda Mary Montano, Ever Peacock, Miles Pflanz, and Jennifer Zackin. Photo by Amelia Iaia Nina Isabelle at The Mothership The Beast at Mothership Lorene Bouboushian, Nina Isabelle, Brian McCorkle, Linda Mary Montano, Ever Peacock, Miles Pflanz, and Jennifer Zackin. Photo by Amelia Iaia Nina Isabelle at The Mothership The Beast at Mothership Lorene Bouboushian, Nina Isabelle, Brian McCorkle, Linda Mary Montano, Ever Peacock, Miles Pflanz, and Jennifer Zackin. Photo by Amelia Iaia Nina Isabelle at The Mothership The Beast at Mothership Lorene Bouboushian, Nina Isabelle, Brian McCorkle, Linda Mary Montano, Ever Peacock, Miles Pflanz, and Jennifer Zackin. Photo by Amelia Iaia Nina Isabelle, Lorene Bouboushian The Beast at Mothership Lorene Bouboushian, Nina Isabelle, Brian McCorkle, Linda Mary Montano, Ever Peacock, Miles Pflanz, and Jennifer Zackin. Photo by Amelia Iaia Lorene Bouboushian at The Mothership The Beast at Mothership Lorene Bouboushian, Nina Isabelle, Brian McCorkle, Linda Mary Montano, Ever Peacock, Miles Pflanz, and Jennifer Zackin. Photo by Amelia Iaia Lorene & Nina at The Mothership The Beast at Mothership Lorene Bouboushian, Nina Isabelle, Brian McCorkle, Linda Mary Montano, Ever Peacock, Miles Pflanz, and Jennifer Zackin. Photo by Amelia Iaia Brian McCorkle at The Mothership The Beast at Mothership Lorene Bouboushian, Nina Isabelle, Brian McCorkle, Linda Mary Montano, Ever Peacock, Miles Pflanz, and Jennifer Zackin. Photo by Amelia Iaia Nina Isabelle at The Mothership The Beast at Mothership Lorene Bouboushian, Nina Isabelle, Brian McCorkle, Linda Mary Montano, Ever Peacock, Miles Pflanz, and Jennifer Zackin. Photo by Amelia Iaia Nina Isabelle and Lorene Bouboushian The Beast at Mothership Lorene Bouboushian, Nina Isabelle, Brian McCorkle, Linda Mary Montano, Ever Peacock, Miles Pflanz, and Jennifer Zackin. Photo by Amelia Iaia Bouboushian, Isabelle, Peacock The Beast at Mothership Lorene Bouboushian, Nina Isabelle, Brian McCorkle, Linda Mary Montano, Ever Peacock, Miles Pflanz, and Jennifer Zackin. Photo by Amelia Iaia The "Beast Conjuring" performance intended to conjure and kill the sea beast from the book of Revelation. A group of artists and performers were invited to simultaneously interweave their own processes and intentions as a way to generate energies that might be focused toward the common goal of beast conjuring. Together the group worked to build and maximizing the physical, sensory, and psychic spaces that bind the internal and external dimensions of awareness through performative modes of sound making, movement, object construction, and ceremonial-like gestures in a process that became an inquiry into how a metaphoric conjure-and-kill scenario might translate or become useful in a literal dimension where such things are less possible-seeming. "Beast Conjuring" was performed within an installation including ten hand-fabricated crowns, ten cedar root horns dug from local woods, hand painted imagery of the seven-headed ten-horned beast, a suspended hand-sewn white linen angel, a reconstructed domestic scene from the home of an ex-evangelical and a giant edible Whore of Babylon cake as bait. Lorene Bouboushian read personal text and improvised sound and movement, Linda Mary Montano performed a holy water blessing as Chicken Linda, Brian McCorkle produced sound using a Saxophone and his specially designed Beast Box, (a noise machine built with raspberry-pi based software that cast neural nets for soul retrieval,) Jennifer Zackin engaged in a task-based performance to weave a beast trapping vortex, Ever Peacock and I performed an acoustic rendition of Larry Norman's *You've been Left Behind* thirteen consecutive times all awash in Miles Pflanz's video remake of the 2014 American Christian apocalyptic thriller film *Left Behind* (based on the bestselling novels by Tim Lahaye and Jerry B. Jenkins) that reframes durational performance art as post-apocalyptic living. It's difficult to gauge the effectiveness of a performance conglomerate like "Beast Conjuring" due to its potential to be made to mean multiple things by participants and observers and the ripples of their combined experiences and energies. At the same time, the ability of a situation to evade meaning is exciting. No literal beast popped out of the floor, no politicians were struck dead and there weren't any recognizable or even loosely associated repercussive events of cosmic significance but the usefulness and appeal of such a process seems to unfurl over time in a circular and translucent way that generates unanswerable questions and hints at the possibilities and potential of less realistic thinking and doing.

Silver gelatin prints & hand made photograms by Nina Isabelle (1989-1999) HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... SILVER GELATIN PRINTS 1989-1999 A Collection of gelatin silver prints made from photograms, handmade negatives, and experimental darkroom photographic processes. Mother Selenium toned silver gelatin print toned silver gelatin print toned silver gelatin print Selenium toned silver gelatin print 7x9 toned silver gelatin print toned silver gelatin print Selenium toned silver gelatin print 7x9 toned silver gelatin print prismacolor on toned silver gelatin print toned silver gelatin print sepia toned silver gelatin print toned silver gelatin print toned silver gelatin print toned silver gelatin print Selenium toned silver gelatin print 7x9 1/1

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... WEST HALL OPEN STUDIO RENSSELAER POLYTECHNIC INSTITUTE TROY, NY DECEMBER 11, 2022

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... BANGKOK UNDERGROUND CINEMA The Bangkok Underground Film Festival 2017 program consists of a series of events across multiple venues in Bangkok. Co-organised by Speedy Grandma , emesis , Bridge Art Space & Jam Caf é , with support from VS Service , Projectionist Asia , Panda Records and Museum Siam . MARCH 5-12, 2017

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... THE SHIRT FACTORY CENTENNIAL KINGSTON, NY September 16, 2017, 2018 For The Shirt Factory Centennial Celebration I tied 100 flags together and looped them through the building.

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