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 WOODSTOCK LIBRARY FLOATING BOUNCY CHAIR JUNE 2016 For the 85th Annual Woodstock Library Fair Hudson Valley artists were commissioned to repurpose a heap of old metal folding chairs for a silent auction to benefit the library. I made this floating bouncy chair using studio scraps and discount bungee cords from P&T Surplus in Kingston, NY. Fellow artist and Vice President of Friends of The Woodstock Library Michael Hunt says “It's the coolest motherfucking chair.”

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 GIANT WEED WEB IV SOLDIER'S F.A.G. (FEMINIST ART GROUP) at ROSEKILL SEPTEMBER 2016 Feminist Art Group founder IV Castellanos of IV Soldiers Gallery curates a group of artists at Rosekill Performance Farm in Rosendale , NY for a weekend of building and performance. Elizabeth Lamb, Kaia Gilje, Amanda Hunt, Lorene Bouboushian, Nina Isabelle, Quinn Dukes, Anya Liftig, IV Castellanos, Jill McDermid, Claribel Jolie Pichardo.

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HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... ARTiculAction Art Review // Special Issue Interview from December 2015 Published January 2016 By Dario Rutigliano and Josh Ryder https://issuu.com/articulaction/docs/articulaction_art_review_-_spiss Multidisciplinary artist Nina Isabelle's work ranges from Painting to Performance to explore the inability of communication which is used to visualize reality: her approach rejects any conventional classification and crosses the elusive boundary that defines the area of perception from the realm of imagination, to create a multilayered involvement with the viewers, who are urged to investigate the ubiquitous order that pervades the reality we inhabit. One of the most convincing aspect of Isabelle's practice is the way it accomplishes the difficult task of creating a deep and autonomous synergy between our limbic parameters and our rational categories: we are very pleased to introduce our readers to her multifaceted artistic production. A: Hello Nina and welcome to ARTiculAction: to start this interview, would you like to tell us something about your background? You have a solid formal training and you hold a BA in Art from Westminster College: how did these experiences influence your evolution as an artist? And in particular, does your cultural substratum inform the way you relate yourself to the aesthetic problem? N: As a younger person I was part of a community of acrobat-like athletes who maintained an extreme bodycentric focus while engaging in high-risk physical activities. As my artistic process evolved it naturally embodied the physicality of movement in relation to mark making. Early on I began to inspect the nature of energy patterns as they emerged and flowed with the breath in relationship to physical movement. Connecting mark making to physical movement was a natural progression for me. When I was first introduced to gestural line during my foundational academic studies I felt an instant, fluid, kinesthetic understanding and I recognized a potential within the allowance of gestural mark-making for me to reconstruct communication and perception. At the same time I became involved with interpretive modern dance and was excited by the dialogue generated between action and art because what I had known of language up to that point had bothered me. During my formal training, college provided a duration of time and the physical space to practice art, but also fueled my aggravation as I recognized a chasm between academic art and my personal approach. Although I was a good a student, I felt displaced and misunderstood in the art department and after graduation I chose not to continue my studies inside of academia. Since then, I’ve developed multiple personal superstrata that allow me to span the divide between formal academic programming and personal process. By using physical process in combination with self-developed cryptographs I’m able to construct psychic spaces and explore the possibilities of metaphysical transformation as the result of art action and objects. In the past year I’ve arrived at a way of working that suits me, my work has begun to develop a coherent focus and I’ve begun to understand the benefits of my early struggles. While my athletic experience connected me to physical reality, my academic exposure opened up my awareness of mental and psychological concepts. I had also spent years as a rock climber living in a tent all around the west and traveling in the snowy backcountry of the Wasatch mountains, and these experiences definitely broadened my spiritual perceptions. Integrating my varied foundations has been a tenacious process and plays a big part in my approach to visual and other language. A: Your approach coherently encapsulates several techniques and - ranging from Painting to Performance - it reveals an incessant search of an organic symbiosis between a variety of viewpoints. The results convey together a coherent and consistent sense of harmony and unity. Before starting to elaborate about your production, we would suggest to our readers to visit http://www.ninaisabelle.com in order to get a synoptic view of your multifaceted artistic production: while walking our readers through your process, we would like to ask you if you have ever happened to realize that a symbiosis between different disciplines is the only way to express and convey the ideas you explore. N: Working as a multidisciplinary artist suits me because I have a natural tendency toward instinctive response that allows me to engage equally with whatever action or material I find in front of me. Part of any thorough process involves identifying and becoming familiar with all of the materials and variables. When I first began to do deeper studies of line, color, gesture, material, posture, and action it occurred to me that there was an amount of information beyond the apparent implications of these face-values. As I began to look to metaphor and archetypes for clues, my understanding and relationships to these elements began to open up and grow. I feel a level of success that you’ve used the word “incessant” in response to my work, that’s a sensitive and accurate word because I do feel captured by a relentless focus that keeps going round-and-round, spanning decades, creating a snarled web of thought-loops. Performance art has allowed me to physically express the anguish around being ensnarled in a mental struggle. In a way, it’s like having a wrestling match with dichotomy programming. If I’m able to smooth out connections, through painting or performance, I might be able to reconcile polarized thought forms. In that way, my process has resulted in a practical application as it translates directly to interpersonal relationships and extremism. A: For this special edition of ARTiculAction we have selected The Q: Entity, a recent Performance Art Project that our readers have already started to get to know in the introductory pages of this article. What has at once caught our attention is the way it accomplishes the difficult task of establishing a channel of communication between the subconscious sphere and the conscious one, to unveil and challenge the manifold nature of human perceptual categories and to draw the viewers into a multilayered experience. So we would like to take this occasion to ask you if in your opinion personal experience is an absolutely indispensable part of a creative process... Do you think that a creative process could be disconnected from direct experience? N: Inside of physical reality it would be impossible for personal experience to be separate from creative process. Author Caroline Myss says in her book Anatomy Of The Spirit that “Every thought we have travels through our biological system and impacts our physiology. It is inescapable that your life history—the cumulative and synergistic blending of your feelings, experiences, and perceptions—has culminated in the body you are walking around in today.” From this perspective it would be crazy to imply that a physical body could be separate from its own art processes. However, inside of a lateral psychic reality unquantifiable possibilities exist. Phenomena of psychic imprint like dreams, deja-vu, and other mystical-seeming experiences are valid art process elements. In this way, physical connection can act as an interruptor between personal history and psychic process while creating possibilities for non-physical connections to dictate a re-scripted reality. Working with The Q: Entity, fellow artist Clara Diamond and I found that by facilitating intellectual disconnections between physical reality perceptions and process by employing techniques such as dowsing, divination, ritual, and other unsubstantiated methods The Q: Entity was able to build etheric connections of its own which transcended our physical manufacturing capabilities. In this way, channels of communication were able to connect the subconscious sphere with the human perception manifold. A: How do you see the relationship between public sphere and the role of art in public space? In particular, how much do you consider the immersive nature of the viewing experience? N: I’ve have had a couple of art viewing experiences that have lead me to realize the importance of public space as it relates to viewership. Around 2001 I happened to see a large piece by Robert Rauschenbuerg hung in the lobby of The Bellagio Resort in Las Vegas. I was so thrown off guard by it, at first I couldn’t understand why The Bellagio would have a knock-off Rauschenberg, I imagined it to be a passive maneuver by a Bellagio “set-designer,” but it turned out to be a real Rauschenburg. I was so outside of my element in Las Vegas, and my perception of the city was that it was very hollow and temporary, that everything was made to be like a Iow-budget theatre production. I couldn’t understand what was going on, or how the Rauschenburg painting could be in that space other than to recognize it as a fake, but it wasn’t. I went back to my tent, which I had pitched in the desert outside of Las Vegas, and tried to fathom it’s placement. Through recent inquiry I was able to identify the piece as “Overnight,” a vegetable dye transfer on polylaminate (107 x 93.5) commissioned by The Bellagio in 1999. Another time, while visiting The Palmer Museum of Art at Penn State University with my mother, I happened to see a large abstract painting (80.5 x 131.5) by Jules Olitski titled “Compelled” from 1966. I wasn’t expecting the surprise because the experience of visiting The Palmer Art Museum with my mother had been shrouded in a long, dark history. She took me there often as a child because we lived nearby, I alway tried to enjoy it but usually wound up feeling tortured by the visits. So when I saw the Olitski painting I was thrown off guard. I could instantly see the space created behind the painting, or next to it, I’m not sure what preposition to use or exactly where the space existed, but it was tangible and I was excited by it. This time, the experience was created by timing, space, and object combined. Both of these experiences caused me to rewrite a portion of my knowledge about the relationship between art, place, time, and viewer. I recognize that, on the viewers part, its best to have a combination of awareness, desire, hunting, and to be ready for a surprise. A: We have appreciated the way The Q: Entity, through an effective synergy between Art and Technology, condenses physical gestures and ethereal perspectives into a coherent unity. The impetuous way technology has came out on the top has dramatically revolutionized the idea of Art itself: in a certain sense, we are forced to rethink the intimate aspect of constructed realities and especially the materiality of an artwork itself, since just few years ago it was a tactile materialization of an idea. I'm sort of convinced that new media will definitely fill the apparent dichotomy between art and technology and seemingly Art and Technology are going to assimilate one to each other... what's your thought about this? N: I agree that technology will continue to have a larger role in art, especially considering the mystical-seeming implications of quantum research being done at CERN and other recent phenomenal findings regarding Einstein’s Spooky Theory. For instance, new research published in Nature Communications by Griffith University's Howard Wiseman and colleagues uses a single particle to show that wave functions collapse in a strange way. Their findings back up years of research into quantum entanglement in which particles are connected in a mysterious way even when separated, and that observing or manipulating one instantly affects the other. If you ask me, this uncovers tremendous possibilities for artists if we begin to recognize the human machine as a sensitive and powerful tool, or even a medium, when interacting with material. Working with The Q: Entity facilitated a tangible opportunity to interlace technology with memory as Clara and I began working with sound waves, specifically Hz. I had read about studies involving instrumental conditioning of sensorimotor rhythm using Hz to impact human memory and this led us to work with experimental musician, Christina Diamond. We designed a sound piece together using cryptography that incorporated specific rhythm, Hz, and musical notes reduced from astronomical dates to express the agenda of The Q: Entity. A: Now we would like to focus on your abstract painting production: your works capture non-sharpness with an universal kind of language, capable of bringing to a new level of significance the elusive but ubiquitous relationship between experience and memory, to create direct relations with the spectatorship: What is the role of memory in your process? We are particularly interested if you try to achieve a faithful translation of your previous experiences or if you rather use memory as starting point to create. N: Perceiving memory as part of a holographic paradigm, one who’s parts possess the information of the whole, has allowed me to understand it as a dynamic structure which can be reprogrammed through technology-infused mysticism. In this way, memories that once existed as linear narratives or psychological stories entangled within the memory structure can be re-scripted to form a type of non-linear download. In a biological and ephemeral way, memory imparts itself in my painting practice as a sort of past life experience that is Hell bent on continuing the historical work of midcentury abstract expressionists who have already addressed hypothetical concepts like synchronicity, quantum mechanics, action, and spirituality. Keeping this focus in spite of that implies that these studies are free of distinct beginnings or ends, unlike what art historians and theorists suggest. These concepts are holographically ongoing throughout eternity. General memory and individual memories don’t seem to ever possess starting points yet are inseparable from any endeavor involving the documentation machine of a brain inside of a body with working eyeballs. It’s as if our perception apparatus needs to be updated in order to interface with non-linear structures, maybe that’s one agenda of the art entity. A: We definitely love the way you question the abstract feature of images, unveiling the visual aspect of information you developed through an effective non linear narrative, establishing direct relations with the viewers: German multidisciplinary artist Thomas Demand once stated that "nowadays art can no longer rely so much on symbolic strategies and has to probe psychological, narrative elements within the medium instead.” What is your opinion about it? And in particular how do you conceive the narrative for your works? N: Abstraction is a technique for me to manage complexity between instinctive and programmed sensory input / action output processing systems. By establishing direct communication between the hidden collective input processing system and our personal awareness function, abstraction can generate non-linear communication dynamics, like downloadable psychic narratives, which can commingle in the secret space that exists behind the mask of visual input worn by the painting object. Thinking of written language as a medium, I perceive Thomas Dumond’s statement that “art can no longer rely so much on symbolic strategies and has to probe psychological, narrative elements within the medium instead” as a narrative itself describing Art as an entity that is being forced into new circumstances due to the false perception of progress attached to linear time. That’s a very relatable narrative because it speaks to a collective shared experience. At some point every person must move or die- birth for example. Narrative seems to exists in the psyche and surfaces as myth, emerging from a non-linear space shrouded from direct consciousness as concrete archetypes and stories. Understanding this dynamic plays a big part in allowing my work to be instinctive and to recognize it as a new personal mythology as it unfolds. A: While exhibiting a captivating vibrancy, your paintings seem to reject an explicit explanatory strategy: rather, you seem to offer the viewer a key to find personal interpretations to the feelings that you convey into your paintings... this quality marks out a considerable part of your production, that is in a certain sense representative of the conflictual relationship between content and form: how much does your own psychological make-up determine the nuances of tones you decide to use in a piece and in particular, how do you develop a painting’s texture? Moreover, any comments on your choice of "palette" and how it has changed over time? N: I try to avoid over explanation in order to honor the viewer’s opportunity to arrive at their own personal meaning. When people are able to come to their own conclusions they are able to integrate meaning on a more dynamic and practical way. For example, The Talmudic concept of the Evil Eye implies that “blessing (or understanding) only rests upon something that is concealed from the eye,” this comes from a parable deduced from a biblical myth found in Genesis where people were directed to emulate fish when it came to multiplying because fish do so under the water where it’s impossible to view the process because it occurs in a place that is shielded from view. This hiddenness acts as a type of protection against the Evil Eye, so in one way, obscuring information creates greater possibility of understanding, especially when the information is non-linear or comes from a non-visible realm in the first place. Just like history and memory, personal psychological nuances must be inseparable from action and process. For instance, I’m personally reactive to cultural implications that attempt to dictate what I should or shouldn’t do. In that way, I’m like a child and that is an obvious visual aspect of my painting. Defiance pathology is part of what allows me to maintain my true focus, insulates me from the pressure to conform, and keeps me impervious to art fads and lingo. Psychology isn’t black and white, either. Although I choose my palette based somewhat on theory, I also allow myself space to follow my hunches and to make instinctive color choices. I definitely wrestle with the pathology of conflict between understanding how formal training should dictate my color choices and choosing to ignore and even challenge that training. This conflict plays out visually as extreme or unlikely color choices as well as through the challenge of laying down color as a metaphor for form. A: The recurrent reference to the emotional sphere but at the same time to universal imagery removes any historic reference from the reality you refer to, and I daresay that this aspect allows you to go beyond any dichotomy between Tradition and Contemporariness, and that establishes a stimulating dialogue between references from contingent era and an absolute approach to Art: do you recognize any contrast between Tradition and Contemporariness? N: Perceiving tradition and contemporariness as dichotomies creates contrast and my work might deal with this by referencing a larger grey area. Then vs. now doesn’t fit into my perception of time so maybe that’s what you’re picking up on. Because I’m deploying abstract painting, an old fashioned and traditional language to begin with, as my superficial framework I’m referencing history in a general way. Being aware of the objectives and findings of abstract painters throughout history in conjunction with the notion that because somethings been done before doesn’t deter me. I’m sort of like a scientist with an outdated lab. I like paint and I feel drawn to work with it inside of the framework of abstract painting, there’s still a hefty amount of information to sort through. I don’t believe that its possible for abstract painting to have an end or be killed, it’s a living tool used to deal with information, and it’s useful to me. However, its being pushed to extremes by both technology and academia, which I think will force it to change and grow, but not be killed. Abstract painting has been fed a steady diet of brains for decades, and if we apply the cliche “You are what you eat,” Zombie Formalism makes sense. Instead of stabbing it in the head and pronouncing it dead, maybe we could feed it some heart and guts to revitalize it as a hero / savior, instead of fueling the zombie by feeding it more brains. Collectively, if we focus intention on reviving abstract painting through a more inclusive, receptive, and feminine approach, and if art can be liberated from academia I think that would be helpful. It seems like things are shifting as more and more art students are struggling to be baristas with huge student loans. A: It's no doubt that interdisciplinary collaborations as the ones you have established with experimental musician Christina Diamond and performance artist Clara Diamond for The Q: Entity are today ever growing forces in Contemporary Art and that the most exciting things happen when creative minds from different fields of practice meet and collaborate on a project... could you tell us something about this effective synergy? By the way, Peter Tabor once stated that "collaboration is working together with another to create something as a synthesis of two practices, that alone one could not": what's your point about this? Can you explain how your work demonstrates communication between two artists? N: Collaborating with Clara Diamond on The Q: Entity has been a profound experience in that our way of working together generated an enormous amount of information. We spent almost nine months conceptualizing and building The Q: Entity and along the way were confronted with numerous opportunities to evaluate output as valid or not valid. At one point, a sequential pattern of numbers emerged which we initially mistook for zip codes suggesting physical locations. Through Clara’s methodical way of processing information we were able to recognize that the sequences actually desired to be expressed as musical notes and this led us to work with her partner, experimental musician Christina Diamond. Having the ability to check in with each other, and to easily respect each other’s perceptions, helped refine our focus and resulted in a literal voice for The Q: Entity. Another dynamic between Clara and I exists in that we are both mothers and have each experienced the birthing process, so we were able to understood the conception and gestation of The Q: Entity as very literal. Drawing parallels to the birth of our children facilitated our reverence for The Q: Entity and this resulted in a tangible sense of growth, personality, and and recognition of a miracle. The final performance paralleled the physical birthing process in that together we each entered a similar introverted primal trance state and were able to give over personal control to the powerful instinctive force accessible to woman during childbirth. A: Over your career you have exhibited around the United States, showcasing your work in several occasions, including two solos. One of the hallmarks of your practice is the capability to create a direct involvement with the viewers, who are urged to evolve from a condition of mere spectatorship. So before leaving this conversation we would like to pose a question about the nature of the relationship of your art with your audience. Do you consider the issue of audience reception as being a crucial component of your decision-making process, in terms of what type of language is used in a particular context? N: Keeping a clear focus on my process and an authenticity to my intention means that I don’t direct much energy into involving myself with how my work might be received by viewers. By holding the belief that viewership is best dictated by the viewer, a more powerful and integrative experience can happen for viewers as this allows them to remain in control of their own experience. For now, I maintain a dedication to my instinctive nature and to be exempt from considering audience in my decision-making process. I feel good about entrusting viewership to a cosmic power. A: Thanks a lot for your time and for sharing your thoughts, Nina. Finally, would you like to tell us readers something about your future projects? How do you see your work evolving? N: My way of working is very prolific, in 2015 I completed over 50 large scale paintings and I’m continuing to produce work at that pace. I spend a lot of time in the studio and always take exhibition opportunities seriously. My studio is located north of New York City in the city of Kingston, NY. As artists are having a rougher financial time in the city they are relocating here, and I hope this will lead to new opportunities to connect my work with a larger community. Recently, Jill McDermid and Erik Hokanson, founders of Brooklyn’s Grace Exhibition Space, began a performance art residency program and exhibition space here in Kingston called The Linda Mary Montano Art / Life Institute and it’s been really awesome to see national and internationally recognized artists working in their space and to be able to perform there. My future plans include expanding my studio and I’m looking into buying a building here in Kingston. I’m learning about the realities of balancing art with finances and would like to connect with business and marketing people who can generate money so that I can keep working in my studio. I’m fervently motivated to continue my deep, authentic, and thorough studies of painting and performance, to generate relatable material, and to exhibit and perform as opportunities arise. Thank you, ARTiculAction for engaging with my work and for offering me the opportunity to articulate my art and action!

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 WINDMILL WEAPON MATRON MAY 2016 The Windmill Weapon Matron was built on May 12, 2016 and exhibited on June 3, 2016 as part of The New School's Social Justice exhibition with The Bushwick Collective. Materials include s awhorse, l umber, co nstruction m aterials, s pray p aint, h ouse p aint, a fghans, w eapons, b icycle p arts, y arn, p laster, t erra c otta, c hain. She is 90h x 53w x 45d. She is a dangerous female machine expressing an active stance and aggressive posture. She no longer identifies as passive and has most recently emerged as an international threat. Based on a jumbled compilation of afghans, defunct bicycle parts, weapons, lumber, and chain her biographical narrative has been holographically reconfigured into a destructive biological machine made of woman’s time. While The Windmill Weapon Matron acknowledges her destructive approach as a natural response to her capacity for childbirth, she hesitates to dichotomize the two simply saying “Come, let me destroy you.” Utilizing a process of defiance The Windmill Weapon Matron has successfully developed a system capable of transforming eye-rolling, financial aid application trauma, stuffed animal over population, and hair pulling as well as other sensory input bull shit into a clean, renewable, and sustainable energy source for mothers. Nobody will lend her a chainsaw It is safe to breed with her She makes a mockery of science Her system is nervous Her face is spinning When she was a virgin politicians killed and ate her She is secular Her system has calcified She loves The Antichrist She birthed a female bastard She wan’t trained up the way she should go The system tries to destroy her She has nothing to depart from Rabbits fear her She has been relieved of advantage Her system is unkillable

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... Nina Isabelle Opening at HiLo CATSKILL, NY MAY 2017 Nina Isabelle, with her signature gusto, will be presenting an evening of intrigue, education, and hullabaloo. Arm wrestling, The Overconfident Autodidact (performed by Erik Hokanson,) a tea party performance by Valerie Sharp, a public interview with the questioner another performance artist (Matthew Gioia,) and two documentary screenings- The Eucharist Machine and Time Travel Research Documentary.. Nina Isabelle's installation will be at HiLo from now until June 5. It can be viewed M-F 7am-2pm and Sat & Sun 9am - 4pm until May 3rd after which time the hours will be M-Tu 7-2, W-Th 7 -4, Fri 7am-12am, Sat 7-12am, Sun 9am - 10pm

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... HYPERACTIVE INSTALLATION JUNE 4 2017

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... CERTAIN SOLUTIONS FOR DISSOLVING PROBLEMS CZONG INSTITUTE FOR CONTEMPORARY ART GIMPO, KOREA / AUGUST , 2016 Certain Solutions For Dissolving Problems August 21, 2016 8:39 Certain Solutions For Dissolving Problems compiles digital imagery, audio, photography, and writing from The Superfund Re-Visioning Project into a video that addresses the failure of language and processes used to confront social and political issues such as environmental contamination. Using subtle neurolinguistic programming tactics combined with inaudible frequencies this video implants the idea of psychic reprogramming as a possible solution to artistic process displacement and underutilized artistic visions within the financial and political structures intended to remediate environmental contamination. In September 2016 Certain Solutions for Dissolving Problems was exhibited in an exhibition called Artist and Location at The Czong Institute For Contemporary Art in Gimpo, Korea.

Nina A. Isabelle is a process based multidisciplinary artist working with abstract painting, performance art, video, photography, sound, and sculpture. HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... NINA A. ISABELLE Kingston, NY isaben@rpi.edu Nina Isabelle is a process based artist working with perception, action, language, and phenomena. Her practice is a method to sort and solve the inconsistencies of language, memory, and form. She makes paintings, drawings, photographs, video, sculpture, sound, performance and writing as inquiry into how sensory perception functions as the impetus for action, reaction, response, and choice making in art and life. Her work often merges disciplines as she explores how sense data compels actions, informs concepts, and the unconscious and conscious impact these variables have on decision making processes used to construct meaning and worlds. Motivated by the failure of dialogue, the dissonance between form and content, the imposition of objects in space, as well as the deficiencies of literal language, her projects highlight how modes of psychic imprinting and cerebral interpretations come together to organize perception in ways that can inform and solidify new possibilities and transformations. She often arranges structures for action, gesture, and performance as a way to reveal surprises or new information. She might act out directives such as repetitive gestures and/or categorical movements inspired by mathematical number sequences, geometric or asymmetrical patterns, GPS location, or directions within open time segments to find ways that improvised movements, reactions, and responses can be examined, quantified, relearned, or transformed. Her projects often compel her to construct life size human forms, sew garments or other wearable objects, wrap and/or suspend arrangements, weld steel structures that might become a wearable, percussion instrument, a kinetic sculpture, or all three. The sculptural objects that result from her process are project-specific and function as concept-artifacts, or evidence of a process of engaging with physical material. Along the way and afterward, she scrutinizes everything including conception, design, creation, physical actions & interactions, and destructive elements as a way to notice inconsistencies or transformations that demonstrate how manipulating physical material might reveal information about ways of manipulating non physical dimensions including concepts. Isabelle use photography and video documentation as instruments to highlight and inspect sensory inconsistencies and memory schisms that occur throughout expanded timelines. By simultaneously displacing perception into three different vantages (the observer, the observed, and the observer of the observed,) she is able to engage with documentation as a tool to untangle problems related to sequence and simultaneity, physical location and material, the affability of memory, the complexities of self and other, and the inconsistencies experienced by the observer and experiencer over time. Her projects often include soundscapes made using her personal collection of audio samples including inaudible language or partially told stories, text-to-speech robots, discordant and degraded audio bombardments, multilayered barrages of noises sampled from her life such as gun shots, clicking bicycle sprockets, wind hitting a microphone, my kids, and my own improvised interactions with musical instruments. As part of her process, Isabelle will stretch, layer, reverse, overlap, or modify her soundscapes creating a cacophonic experience that might engage and scramble or distract and divert a portion of perception with the goal of freeing up other awareness functions. Isabelle's work has been presented at The Elizabeth Foundation for the Arts in New York City, The Queens Museum as part of Emergency Index Documentation Discussion, Judson Memorial Church, Grace Exhibition Space, and ABC No Rio in Exile at Bullet Space in NYC with Feminist Art Group, as well as at Para//el Performance Space and The Ear in Brooklyn, NY. Internationally her projects have been presented at Czong Institute for Contemporary Art in Gimpo, South Korea, The Unstitute in Catalunya, Spain, Bangkok Underground Film Festival in Thailand, and NA Gallery in South Korea. Nationally her work has been shown at The San Diego Art Institute, The New School's exhibition at The Bushwick Collective, Roman Susan in Chicago, IL, and CX Silver Gallery in Brattleboro VT, among others. In 2018 Isabelle founded Three Phase Center for Collaborative Art Research & Building in Stone Ridge, NY where she facilitates, collaborate with, and document the work of process based conceptual and performance artists. Three Phase Center also produces a video documentary series titled Documenting Process that aims to substantiate the utility of art processes that challenge the measures of value established by institutions and markets by highlighting the lateral values of the processes and practices artists engage with that benefit their social spheres, themselves, or larger communities in less quantifiable ways. The series features artists talking about their practices, process, influences, motivations, and future plans in relatable and accessible terms. Educational Statement I first studied art at Pennsylvania School of Art and Design in 1991, and then at The University of Utah. I received my Bachelor's in Art from Westminster College and graduated with honors in 1999. In 2022 I received a Rensselaer Graduate Fellowship award to pursue study in the doctoral program in Electronic Arts at Rensselaer Polytechnic Institute. Exhibitions, Collaborations, Participations & Projects 2023 5 Objects, Percussion & Piano for Lisa Schonberg's Old Growth Playback, The Sanctuary for Independent Media, Troy, NY 2023 Electronic Arts PhD Open Studios, Rensselaer Polytechnic Institute, Troy, NY 2023 Chicken Performance with Linda Montano, Paul McMahon & Brian McCorkle, Lamb Center, Saugerties, NY 2023 Art = Healing, a group exhibit by Linda Montano at Emerge Gallery, Saugerties, NY 2023 b priori, Rensselaer Polytechnic Institute EArts PhD Graduate Exhibit at Collarworks, Troy, NY 2022 West Hall Open Studios, Rensselaer Polytechnic Institute, Troy, NY 2022 Livestream - Nina Isabelle & Adriana Magaña at Jennifer Zackin's Upstate Art Open Studio, July 2022 2021 Building as Being / Construction as Performance - IV Castellanos & Nina Isabelle at Rosekill Performance Art Farm, June 2021 2021 Nina Isabelle - Artist, Thinker, Observer , Theresa Widman's Podcast #183 2021 The Black Meta Interviews Nina Isabelle for Radio Kingston, by Beetle & Freedom Walker, May 2021 2021 Psychic Self Defense, Artlife Institute, Kingston, NY 2021 Imagined Performance written by Nina Isabelle presented by IV Castellanos, Para\\el Performance Space, Brooklyn, NY 2020 Meet The Makers, Children's Museum of Art in NYC interviews Nina Isabelle, October 21, 2020 2020 Spheres of Performance, Perception, and Value, virtual presentation for The Hynes Institute of Entrepreneurship & Innovation at Iona College, September 2020 2020 Video Manifestation System User Interface Lecture and Presentation, Grace Exhibition Space, NYC , May 1, 2020 2020 Superfund Revisioning Project Lecture, Grace Exhibition Space, NYC . May 15, 2020 2020 EQUINOX, An Emergency of Joy, March 19, 2020 2019 The Shape of a Feeling & the Languages of Organizational Structures, The Esthetic Apostle, October 2019. Web. 2019 Choices & Voices, The Ear, Brooklyn, NY 2019 Remarkable New Locations, CX Silver Gallery, Brattleboro, VT 2019 April 5th Video for Daily Trumpet by Jonathan Horowitz. Web. 2019 Illuminating Intangibles with Amelia Iaia at Para\\el Performance Space, Brooklyn, NY 2019 Documentation Discussion with LiVEART.US & Emergency INDEX at Queens Museum 2018 Empathy Blinders by David Ian Bellows/Griess with Nina Isabelle & Elizabeth Lamb, Brooklyn Arts Media , December 4-18, 2018 2018 LaTable Ronde / Critical Practices Round Table #7.1 on Careerism, NYC 2018 In Honor Of, The Elizabeth Foundation for the Arts, NYC 2018 actLife , Linda Montano, Nye Ffarrabas (Bici Forbes,) Cai Xi, Lee Xi, Nina Isabelle, Jennifer Zackin, Sharon Myers, C.X. Silver Gallery, Brattleboro, VT 2018 Healing + Arts / Radical Domesticity , Movement Metaphors Time Travel Workshop, Kingston, NY 2018 No Nudes / No Sunsets , Greene County Council on the Arts, Catskill, NY 2018 Whistle Portraits with Linda Mary Montano & Jennifer Zackin, Secret City Art Revival, Woodstock, NY 2018 Whistle Portraits with Linda Mary Montano & Jennifer Zackin, HiLo, Catskill, NY 2018 Animalia , 2018 Anarchist Art Fair at Judson Memorial Church, NYC 2018 Performancy Forum, ForceYourself to be Good , Panoply Performance Laboratory, Brooklyn, NY 2018 Citizen Participation: Diagrams & Directives , Feminist Art Group, ABC No Rio in Exile at Bullet Space, NYC 2018 The Hymn Warp Transducer, Paul McMahon's Bedstock, 9 Herkimer Place, Brooklyn, NY 2018 Muscular Bonding, New Genres Arts Festival, Living Arts, with Esther Neff, Beth Neff, Kaia Giljia, 3dward Sharp, and Adriana Disman, Tulsa, OK 2018 M.A.R.S.H (Materializing & Activating Radical Social Habitus,) with Esther Neff, Beth Neff, Kaia Giljia, 3dward Sharp, and Adriana Disman, in St. Louis, MO 2018 Video Manifestation System by Nina A. Isabelle, Human Trash Dump, www.archive.org , 2018 Piano Portraits with Linda Mary Montano, Nina Isabelle, & Jennifer Zackin at HiLo in Catskill, NY 2018 Beast Conjuring , The Mothership, Woodstock, NY 2017 MKUVM , Human Trash Dump, Nov. 27, 2017, www.archive.org 2017 Vidiot , The Unstitute, Catalonia, Spain & Virtual 2017 4th Iteration of The Bedroom by T.W.A.T. (The Women Art Team), Holland Tunnel Gallery, Brooklyn, NY 2017 CENTENNIAL:SHE , Greene County Council on the Arts, Catskill, NY 2017 Patricia Field's Art/Fashion Show, Joe's Garage, Catskill, NY 2017 Feminist Art Group Performance, Old Glenford Church Studio, Glenford, NY 2017 Midtown Arts District Art Walk, Kingston, NY 2017 The Shirt Factory Centennial, Kingston, NY 2017 The Unstitute's Projection Room, Integrative Ontological Practices by Selden Paterson & The Eucharist Machine by Nina Isabelle, Catalonia, Spain & Virtual 2017 We Are The Secret Garden , The Stable Yard at Ernest, Anna, & Ming's in Kingston, NY 2017 The Bedroom , The Women Artist Team at NA Gallery, Chungcheongnam-do, South Korea 2017 Just Situations with FAG, Grace Exhibition Space, Brooklyn, NY 2017 Ungovernable Zone by Anarko Art Lab at Secret Garden Art Festival at Ft. Tilden, NYC 2017 Beautiful Symphony: Women Creating Chaos with F.A.G at Rosekill, Rosendale, NY 2017 Experimental Archery & Mark Making, Rosekill, Rosendale, NY 2017 MOTHERING , Rosekill Performance Art Farm, Rosendale, NY 2017 If You Don't Go Out In The Woods , Legacy Fatale, Rosekill Performance Art Farm, Rosendale, NY 2017 oUT iN tHE zONE, Anarchist Art Festival #11, Judson Memorial Church, NYC 2017 UNITY, The Lace Mill Gallery, Kingston, NY 2017 Wish You Were Here II, The Old Glenford Church Studio, Glenford, NY 2017 Feminist Art Group (F.A.G.) Knights of The Round Table , Grace Exhibition Space, Brooklyn, NY 2017 Stages, Green Kill Gallery, Kingston, NY 2017 Property, Roman Susan & Rogers Park / West Ridge Historical, Chicago, IL 2017 Bangkok Underground Film Festival, Bridge Art Space, Bangkok, Thailand 2017 Embarrassed of the Whole, Time Travel Research, Panoply Performance Laboratory, Brooklyn, NY 2017 SHORTCUT TO HELL, Otion Front Studio, Brooklyn, NY 2016 Laundry Loops with JOB // IV Soldier's F.A.G. (Feminist Art Group, ) Panoply Performance Laboratory, Brooklyn, NY 2016 The Dead Are Not Quiet, San Diego Art Institute, San Diego, CA 2016 Artist and Location , Czong Institute For Contemporary Art (CICA) Museum, Gimpo, Korea 2016 The Jernquist Coloring Book Show, Studio Fidlär, Alexanderplatz, Berlin 2016 PoliTRICKS , Art Ellipsis, Philladephia, PA 2016 Feminist Art Group in IV Soldiers Gallery at Rosekill Performance Farm, Rosendale, NY 2016 85th Annual Woodstock Library Fair, Woodstock, NY 2016 The Shirt Factory Open Studios, Kingston, NY 2016 The New School / Bushwick Collective, Brooklyn, NY 2016 The Shirt Factory Artists , Wired Gallery, High Falls, NY 2016 Wish You Were Here , The Old Glenford Church Studio, Glenford, NY 2016 Installation and Performance at The Art Life Institute with Clara Diamond, Kingston, NY 2016 The Pain Project / Alice Teeple-Now Is Real , Star House Gallery, Kingston, NY 2015 Silent Mass Generator Workshop , Grace Exhibition Space Archive, Kingston, NY 2015 Instinct , The Parliament, York, PA 2015 Posthumous Collaborations , Star House Gallery, Kingston, NY 2015 Abstract Mediums , Star House Gallery, Kingston, NY 2014 Witness: The Cedar Tavern Phone Booth Show , Star House Gallery, Kingston, NY 2014 Old Pro , Punk Rock Fish Studio, Berlin, MD 2014 Art Along The Hudson at S.P.A.F, Saugerties, NY 2014 Star House Gallery, Studio Sale, Kingston, NY 2014 Varga Gallery Memorial Day Group Show, Woodstock, NY 2014 Bold And Bright curated by David Barr, Artspace,Falls Church, VA 2013 Ethos of Abstraction -Nina Isabelle/Lucienne Weinberger, Stray Cat Gallery, Bethel, NY 2013 The Garden Cafe, Woodstock, NY 2013 Diagnosis Artist , Star House Gallery, Kingston, NY 2013 Half Your Age , Barrett Art Center, Poughkeepsie, NY 2013 Barrett Art Center, Kinetic , Poughkeepsie, NY 2013 Art Foray, Wired Gallery, High Falls, NY 2013 Home Grown , Hole In The Wall Gallery, Mechanicsburg, PA 2013 Outer Expressions of Inner Mayhem , solo show, Metropolis Collective, Mechanicsburg, PA 2012 Bits & Pieces , The Metropolis Collective, Mechanicsburg, PA 2012 Cool Cats , Hole in The Wall Gallery, Mechanicsburg, PA 2012 Fall Season Show, Greenpoint Gallery,Brooklyn, NY 2012 IDIOM , Unison at Water Street Market Gallery, New Paltz, NY 2012 The Maltese Falcon, Barrett Art Center, Poughkeepsie, NY 2012 Trash Art Gallery at The Metropolis Collective, Mechanicsburg, PA 2012 The Handmade Photograph , Mills Pond House Gallery, Smithtown, Long Island, NY 2012 Sex 7 , Projekt 30, NYC 2012 Cornell St. Studio, Kingston, NY 2012 Varga Gallery, Goddess Show, Woodstock, NY 2012 Erotica , Tivoli Artists co-op, Tivoli, NY 2012 Birds of a Feather , Varga Gallery. Woodstock, NY 2011 Paintings / Drawings, Lovebird Studios, Rosendale, NY 2011 Season Show, Art @ Home, Kingston, NY 2010 Wings Gallery, Rosendale, NY 2007 South Main Studios, Gunnison, CO 2007 Paragon Gallery, Crested Butte, CO 2005 The Gunnison Arts Center, Gunnison, CO 2004 The Gunnison Arts Center, Gunnison, CO 2003 The Gunnison Arts Center, Gunnison, CO 2002 The Gunnison Arts Center, Gunnison, CO 1999 Jewett Center, Westminster College, Salt Lake City, UT 1998 Sundance Gallery, Sundance, UT 1998 Weber State College, Weber, UT 1992 P.S.A.D Student Gallery, Lancaster, PA 1991 P.S.A.D. Student Gallery, Lancaster, PA 1990 Centre Film Lab, State College, PA 1989 Art Alliance of Central Pennsylvania, State College, PA 1988 Pennsylvania State Capital Building, Harrisburg, PA Solo Exhibitions 2021 Psychic Self-Defense, Artlife Institute Kingston, Kingston, NY 2019 Remarkable New Locations, CX Silver Gallery, Brattleboro, VT 2018 We Can't Tell What We're Doing, HiLo, Catskill, NY 2018 The Beast, The Mothership, Woodstock, NY 2017 Nina A. Isabelle at HiLo Art, Catskill, NY 2016 Animal Maximalism , Green Kill, Kingston, NY 2016 Hyperactive Installation at The Shirt Factory, Kingston, NY 2016 The Pain Project , Art/Life Institute, Kingston, NY 2014 The Random Community Generator , Star House Gallery, Kingston, NY 2013 Inner Mayhem , Metropolis Collective, Harrisburg, PA 2002 Nina Isabelle, Gunnison Art Center, Gunnison, CO 1999 Handmade Photographs , Bibliotheque, Salt Lake City, UT Performance 2022 Livestream - Nina Isabelle & Adriana Magaña at Jennifer Zackin's Upstate Art Open Studio, July 2022 2021 Building as Being / Construction as Performance - IV Castellanos & Nina Isabelle at Rosekill Performance Art Farm, June 2021 2020 EQUINOX, An Emergency of Joy, Three Phase Center, Stone Ridge, NY 2019 Illuminating Intangibles, Para\\el Performance Space, Brooklyn, NY 2018 Land Lines with Jennifer Zackin, C.X. Silver Gallery, Brattleboro, VT 2018 Whistle Portraits with Linda Mary Montano & Jennifer Zackin, Secret City, Woodstock, NY 2018 Whistle Portraits with Linda Mary Montano & Jennifer Zackin, HiLo, Catskill, NY 2018 Embodying The Outer Bodies / Force Yourself To Be Good Panoply Performance Laboratory, Brooklyn, NY 2018 Citizen Participation: Diagrams & Directives, Feminist Art Group, www.bulletspace.org , NYC 2018 The Hymn Warp Transducer, Paul McMahon's Bedstock, 9 Herkimer Place, Brooklyn, NY 2018 Muscular Bonding, New Genres Arts Festival, Living Arts, with Esther Neff, Beth Neff, Kaia Giljia, 3dward Sharp, and Adriana Disman, Tulsa, OK 2018 M.A.R.S.H (Materializing & Activating Radical Social Habitus,) with Esther Neff, Beth Neff, Kaia Giljia, 3dward Sharp, and Adriana Disman, in St. Louis, MO 2018 Piano Portraits with Linda Mary Montano, Nina Isabelle, & Jennifer Zackin at HiLo in Catskill, NY 2018 Beast Conjuring, The Mothership, Woodstock, NY 2017 We Are The Secret Garden , The Stable Yard at Ernest, Anna, & Ming's in Kingston, NY 2017 Just Situations with FAG, Grace Exhibition Space, Brooklyn, NY 2017 Ungovernable Zone by Anarko Art Lab at Secret Garden Art Festival at Ft. Tilden, NYC 2017 MOTHERING , Rosekill Performance Art Farm, Rosendale, NY 2017 If You Don't Go Out In The Woods , Legacy Fatale, Rosekill Performance Art Farm, Rosendale, NY 2017 oUT iN tHE zONE, Anarchist Art Festival #11, Judson Memorial Church, NYC 2017 The Fabric of Women's Space-Time, The Lace Mill Gallery, Kingston, NY 2017 Stages , Green Kill Gallery, Kingston, NY 2017 Embarrassed of the Whole, Time Travel Research, Panoply Performance Laboratory, Brooklyn, NY 2016 Mock The Chasm , Art / Life Institute, Kingston, NY 2016 Laundry Loops at JOB /// IV Soldier's F.A.G. Feminist Art Group at Panoply Performance Lab, Brooklyn, NY 2016 Q: INFORMATICUS, P)REPARING THE REAL , The Panoply Performance Laboratory, Brooklyn, NY 2016 Performances Sketches / Clara Diamond's Residency at Art/Life Institute, Kingston, NY 2015 The Q: Entity , The Art/Life Institute, Kingston, NY 2015 The Silent Mass Generator Workshop , Grace Exhibition Space Archive, Kingston, NY 2005 Mirror , Taylor Hall at Western State College University, Gunnison, CO 2002 What Do We Have? / Vanity / Death, Jaquelynne Brodeur & Nina Isabelle, The Gunnison Art Center, Gunnison, CO 1999 The Dischordant Student , Jewett Center, Salt Lake City, UT Video Production 2022 Documenting Process: Cai & Le Xi 2022 Documenting Process: Josh Babu 2022 Steve's Dream 2021 Documenting Process: Shola Cole AKA Pirate Jenny 2019 Documenting Process: Linda Mary Montano 2019 Documenting Process: The Architecture of a Stream by Valerie Sharp 2018 Documenting Process: Decompositions by Brian McCorkle 2018 Seemripper https://vimeo.com/296678389 2018 Video Manifestation System, Human Trash Dump, https://archive.org/details/htdc005 2016 The Eucharist Machine, 4:48, https://vimeo.com/189071199 2016 Certain Solutions For Solving Problems, 8:40, https://www.youtube.com/watch?v=ltIadB4FuFI 2016 Domestic Loops, 6:20, https://www.youtube.com/watch?v=AeEYUtCZbKY 2016 Mother Vs. God, 0:47, https://vimeo.com/176222556 2016 IBM- Tech City Re-Vision , 0:55 https://vimeo.com/182476408 2016 The Giant Candle - Environmental Healing Spell By Proxy , 2:43, https://vimeo.com/182594886 2016 Locational Trauma Transform, 2:54 https:https://www.youtube.com/watch?v=crlDcMZfy1M 2016 Performance Sketch at Art/Life Institute https://youtu.be/XzNUWDwvOTk 2016 The Story Of Terror / Ax In The Stump https://vimeo.com/176227354 2016 Building Connections https://www.youtube.com/watch?v=8YdGO-7zrSY 2016 C O D E https://www.youtube.com/watch?v=EcxJ4pHX8WE 2015 Feeding The Entity https://vimeo.com/140719399 2015 Siblings https://www.youtube.com/watch?v=LR4ErG0Khvc 2015 Q:Entity at Art/Life Institute https://www.youtube.com/watch?v=5joer_gcyKQ Curating / Hosting / Facilitating 2022- iEar Salon curatorial committee member, Rensselaer Polytechnic Institute, Troy, NY 2021- 2022 Sound of Ceres- facilitate set construction & studio space for production of Emerald Sea 2022 - BIRTHDAYARAMA - Linda Mary Montano's 21 hr. Zoom Birthday Party 2021 Michelle Temple at Three Phase Center, Stone Ridge, NY 2021 Shola Cole- Drawing, Welding, & Construction for Time Travelers 2020 Notice Recording presents New Music & Free Jazz, Three Phase Center, Stone Ridge, NY 2020 Social Dissonance, Paul McMahon, Three Phase Center, Stone Ridge, NY 2019 FUTURE: Shola Cole AKA Pirate Jenny, Three Phase Center, Stone Ridge, NY 2019 Speed, Light, Motion & Gesture: Video Installation by Josh Babu, Three Phase Center, Stone Ridge, NY 2019 Infinity Within & Without, Cai Xi and Le Xi, Three Phase Center, Stone Ridge, NY 2019 Hurray! The Gland Doctors Graduate. Linda Mary Montano, Amanda Heidel, Arielle Ponder, Megumi Naganoma, and Lynn Herring 2019 Lorene Bouboushian & The Undoing And Doing Collective, Three Phase Center, Stone Ridge, NY 2019 The Architecture of A Stream by Valerie Sharp, Three Phase Center, Stone Ridge, NY 2019 Public Vortex Weaving by Jennifer Zackin, Three Phase Center, Stone Ridge, NY 2018 The Malleability of Memory by Ernest Goodmaw, Three Phase Center, Stone Ridge, NY 2018 Eleven Modes of Decomposition by Brian McCorkle, Three Phase Center, Stone Rodge, NY 2018 The Obstructionist: Empathy Blinders & Dramatic Object Making with Elizabeth Lamb & David Ian Bellows / Griess, Three Phase Center, Stone Ridge, NY 2018 Thinkers & Doers Feminist Workgroup with Ernest Goodmaw, Havarah Zawoluk and Anna Hafner, Three Phase Center, Stone Ridge, NY 2017 The Shirt Factory Centennial Performance & 3rd Floor Pop Up, The Shirt Factory, Kingston, NY 2016 Animal Maximalism Performances at Green Kill, Green Kill, NY 2016 Alice Teeple, Now Is Real , Star House Gallery, NY 2015 Owen Harvey, The Local Gallery, Kingston, NY 2015 Recent Paintings by Chad Gallion , Star House Gallery, Kingston, NY 2015 Through The Lens : The Sudbury Photo Show, Star House Gallery, Kingston, NY 2014 Adam & Jeff: An Abstract Painter and His Mentor , Star House Gallery, KIngston, NY 2014 Parallel Places: Owen Harvey / Michael Hunt , Star House Gallery, Kingston, NY 2014 The Cedar Tavern Phone Booth Show, Star House Gallery, Kingston, NY 2013 Isaac Abrams / Kelly Bickman , Star House Gallery, Kingston, NY 2013 Narrative , Star House Gallery, Kingston, NY 2013 Artist Talk: Kerry Mueller , Star House Gallery, Kingston, NY 2013 Diagnosis: Artist , Star House Gallery, Kingston, NY Awards/ Fellowship 2025 - The Malcolm S. Morse Graduate Research Enhancement Award 2022 - Rensselaer Graduate Fellowship - Widman, Theresa. "Nina Isabelle - Artist, Thinker, Observer." I want What She Has . 2 Aug. 2021. Podcast. - Beetle & Freedom Walker. The Black Meta- Psychic Self-Defense: Artist, Nina Isabelle" 4 May. 2021. Podcast. Radio Kingston WKNY. -Santullo, Kerry. “‘Meet The Makers - 5 Minutes with Artist Nina Isabelle.’ "Children's Museum of the Arts New York, 21 Oct. 2020, cmany.org/blog/view/5-minutes-artist-nina-isabelle/ . - Hynes Institute for Entrepreneurship & Innovation, and Danny Potocki. "E-talk with Nina A. Isabelle." YouTube. YouTube, 15 Oct. 2020. Web. 22 Dec. 2020. -"The Shape of a Feeling & the Language of Organizational Structures." The Esthetic Apostle. October 2019. Web https://www.estheticapostle.com/the-shape-of-a-feeling -https://www.greenearts.org/no-nudes-no-sunsets-a-photography-exhibition-opens-august-11/ - Varalla, Adriana. "12th Annual NYC Anarchist Art Festival." /anarchistbookfair.net/sites/default/files/Anarko%20Lab%202018%20PRESS%20RELEASE.pdf -Bresnan, Debra, "Activating Perception - Nina A. Isabelle." MAD Kingston. May 2017. Web -"GALERII Eesti Performance'i Grupp Non Grata Esines New Yorgi Anarhismi Festivalil."Õhtuleht. N.p., 24 May 2017. Web. 26 May 2017. - Elissa Garay, "Kingston: Capital of Culture." Chronogram. March 2017: p. Print. - Mills Messner, Heather. "Featured Artist Nina Isabelle." Aife Media Fall/Winter 2016: p.22-23. Print - Josh, Ryder, and Rutigliano Dario. "ARTiculAction Art Review // Special Issue." Issuu. Articulaction Art Review, Jan. 2016. Web. - Rutigliano, Dario, and Josh Ryder. "Nina Isabelle." ARTiculAction Art Review Jan. 2016: 124-49. Print. - Isabelle, Nina A. "Fashion Trends." Goodlife Youth Journal 5.1 (2016): p.20. Print. - George, James. "Nina Isabelle at Falls Church Arts, Bold & Bright." Arlington Art Examiner. 2014. Web. - Malcolm, Timothy. "Stumps For The Outsider." Record Online. Times Herald-Record, 13 Sept. 2013. Web. - Gussin, Bruce. "If It Isn't Not Broken Don't Unfix It." Blog post. Life and How to Live It. 5 Dec. 2010. Web. Residency 2006 Artist in Residence, Gunnison Art Center Summer Residency Program, Gunnison, CO Workshops 2018 Movement Metaphors Time Traveling Workshop, Healing + Art / Radical Domesticity, Kingston, NY 2017 Experimental Archery & Mark Making, Rosekill, Rosendale, NY 2017 Metaphors of Movement, Body Systems, Disease, and Society, Grace Exhibition Space, Brooklyn, NY 2015 The Silent Mass Generator Workshop with Clara Diamond, GES Archive 411 Studio, Kingston, NY Teaching 2014-2016 Photography, Hudson Valley Sudbury School Photography CO-OP, Kingston, NY 2016 Art History & Ideas, HVSS Art History CO-OP, Kingston, NY 2016 Introduction to Digital Photography, The Shirt Factory, Kingston, NY 2003-2006 Modern Dance, Gunnison Arts Center, Gunnison, CO 2006 Oil Painting Workshop, Crested Butte Center of the Arts, Crested Butte, CO 2006 Oil Painting Workshop, Gunnison Arts Center, Gunnison, CO 1988-1990 Kids Photography and Dark Room, Woodward Camp, Woodward, PA References -https://cmany.org/blog/view/5-minutes-artist-nina-isabelle/ -Hynes Institute for Entrepreneurship & Innovation, and Danny Potocki. "E-talk with Nina A. Isabelle." YouTube. YouTube, 15 Oct. 2020. Web. 22 Dec. 2020. - anarchistbookfair.net -https://www.greenearts.org/no-nudes-no-sunsets-a-photography-exhibition http://www.greenearts.org/patricia-fields-artfashion-show-comes-to-catskill/ https://madkingston.org/2017/05/09/nina-a-isabelle/ http://us6.campaign-archive2.com/?u=9bbde55ac06fd4ebf2c0424ae&id=ef278b43c7 http://bangkokundergroundcinema.com/day-3-bridge/ https://justsituations.wordpress.com/ http://www.ivcastellanos.com/feminist-art-group/ http://romansusan.org/following/all/romansusan.org/Property https://madkingston.org/reframed-ritual-nina-isabelle-3715/ https://www.timeout.com/san-diego/things-to-do/the-dead-are-not-quiet-and-the-haunted-art-of-t-jefferson-carey http://artisbeing.com/blog/2016/9/28/san-diego-art-institute-the-dead-are-not-quiet-gallery-exhibiton https://greenkill.org/2016/10/12/nina-isabelle/ http://www.artlifekingston.com/blank-e19y5 http://cicamuseum.com/artist-and-location/ http://www.jennidachase.com/2016/09/21/sn-participates-in-the-cica-artist-location-exhibition-in-gyeonggi-do-korea/

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

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.

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... PIANO PORTRAITS ​ By Linda Mary Montano with Nina Isabelle, & Jennifer Zackin HiLo Catskill, NY February 11, 2018 ​ During these dangerous / confusing / armageddonned times, we are all looking for connection, understanding and warmth. The three of us are committed to providing public art medicine. ART=LIFE=ART. For our PIANO PORTRAITS event at HiLo, we invite audience member-collaborators to sit in a chair on stage to receive a public art healing. Linda Mary Montano will improvise your piano portrait, Nina Isabelle will interpret you through action / movement, and Jennifer Zackin will macrame. Using knots and rope, sunglasses, costumes, blindfolds, action, movement, and sound, we will publicly heal ourselves and you. ART HEALS! ​ Photos by Adolfo Ibanez Ayerve and Carrie Dashow ​ Piano Portraits at HiLo Piano Portraits at HiLo with Linda Mary Montano, Nina Isabelle, and Jennifer Zackin. Photo by Adolfo Ibanez Ayerve Piano Portraits at HiLo Piano Portraits at HiLo with Linda Mary Montano, Nina Isabelle, and Jennifer Zackin. Photo by Adolfo Ibanez Ayerve Piano Portraits at HiLo Piano Portraits at HiLo with Linda Mary Montano, Nina Isabelle, and Jennifer Zackin. Photo by Adolfo Ibanez Ayerve Piano Portraits at HiLo Piano Portraits at HiLo with Linda Mary Montano, Nina Isabelle, and Jennifer Zackin. Photo by Adolfo Ibanez Ayerve Piano Portraits at HiLo Piano Portraits at HiLo with Linda Mary Montano, Nina Isabelle, and Jennifer Zackin. Photo by Adolfo Ibanez Ayerve Piano Portraits at HiLoa_3 Piano Portraits at HiLo with Linda Mary Montano, Nina Isabelle, and Jennifer Zackin. Photo by Adolfo Ibanez Ayerve Piano Portraits at HiLo Piano Portraits at HiLo with Linda Mary Montano, Nina Isabelle, and Jennifer Zackin. Photo by Adolfo Ibanez Ayerve Piano Portraits at HiLo Piano Portraits at HiLo with Linda Mary Montano, Nina Isabelle, and Jennifer Zackin. Photo by Adolfo Ibanez Ayerve Piano Portraits at HiLo Piano Portraits at HiLo with Linda Mary Montano, Nina Isabelle, and Jennifer Zackin. Photo by Adolfo Ibanez Ayerve Piano Portraits at HiLo Piano Portraits at HiLo with Linda Mary Montano, Nina Isabelle, and Jennifer Zackin. Photo by Adolfo Ibanez Ayerve LINDA MARY MONTANO is a seminal figure in contemporary feminist performance art and her work since the mid 1960s has been critical in the development of video by, for, and about women. Attempting to dissolve the boundaries between art and life, Montano continues to actively explore her art/life through shared experience, role adoption, and intricate life altering ceremonies, some of which last for seven or more years. Her artwork is starkly autobiographical and often concerned with personal and spiritual transformation. Montano’s influence is wide ranging – she has been featured at museums including The New Museum in New York, MOCA San Francisco and the ICA in London. www.lindamontano.com NINA ISABELLE is a process-based multidisciplinary artist working with action and perception. She works to deconstruct sensory input to the extent that meaning becomes shifted and interpretations become a phenomena of psychic imprint. By incorporating physical movement, modified technology, art and non-art objects, her work builds systems of action designed to intuit site-specific information- tethering the collective, personal, and regional relative narratives that drive the performance space machine toward trajectories of new perception, belief, and possibilities. Referencing the inability of communication which is used to visualize reality, the failure of dialogue, the dissonance between form and content, as well as the shortcomings of literal language, Isabelle pushes material and information past the point of recognition in a way that forces a shift in meaning, revealing new information that can transform and challenge the limits of material, perception, and belief. Her work has been exhibited at The San Diego Art Institute, The Bangkok Underground Film Festival, HiLo Catskill, the CICA Museum in South Korea, and most recently, The Mothership in Woodstock, NY. www.ninaisabelle.com JENNIFER ZACKIN has been integrating public art, sculpture, installation, performance, collaboration, ceremony, photography, video, collage and drawing into acts of reverence and reciprocity for the past 14 years. Whether wrapping trees in patterns of brightly colored rope, growing medicinal herbs in a public garden for public use, offering large masses of rose petals to oceans and lakes, creating absorbent tentacles ("hair booms") out of salvaged materials to aid in the clean-up efforts of toxic spills, Zackin seeks to engage and create community in her process, bringing art and ritual into everyday life. Every act is an exploration of exchange, communion, performance, skill-sharing and mark-making. Writing in a cataloque essay about her work Lori Waxman states; “Jennifer Zackin has worked with Rose Petals, Little Plastic Cowboys, pre-Columbian symbols, bright handmade pom-poms, cheap mass-produced posters, coca leaves, and her grandfathers old Super-8 home movies. How she weaves them into rhythmic, often meditative forms depends in great part on the underlying pattern that she is able to detect and orchestrate among her diverse materials.” Her work has been exhibited in national and international museums, including the Whitney Museum of American Art NY, Aldrich Museum of Contemporary Art CT, Spertus Museum - Chicago IL, Rose Museum MA, the Wexner Center for the Arts OH, Contemporary Art Museum - Houston TX, The Henie Onstad Kunstsenter, Høvikodden - Norway, Institute of Contemporary Art - Boston MA and the Zacheta National Art Gallery - Warsaw, Poland. Commissions include Governors Island NYC with LMCC, Katonah Art Museum NY, Socrates Sculpture Park LIC - Queens NY and the Berkshire Botanical Gardens - Stockbridge, MA. She is the recipient of fellowships and residencies, including Factory Direct at Pinchbeck Rose Farm, Art Omi, Atlantic Center for the Arts and the Skowhegan School for Painting and Sculpture. www.jenniferzackin.com Event photo: Carrie Dashow

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... LANDLINES Performance by Nina Isabelle & Jennifer Zackin at CX Silver Gallery in Brattleboro, VT. August 26, 2018 An interactive type of immersion-therapy, Landlines invites viewers & participants to make their own meaning out of actions and gestures happening within a sea of dissonance. How do we cultivate the cultural phenomena of communication while agendas of power and dominance try to hijack our semiotic proclivity with fake news and ad campaigns designed to entrench us in divisive notions of entitlement and correctness? When lines of communication become connected to fear, anger, and resentment, how do we clear and reground them to empathy and grace? ​

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... LIVESTREAM NINA ISABELLE & ADRIANA MAGAÑA PERFORM DURING UPSTATE ART WEEKEND AT JENNIFER ZACKIN'S STUDIO IN WOODSTOCK, NY JULY 2022 Photo by Jennifer Zackin

LISTENING MEDIUMS OCTOBER 2022 HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More...

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... 650 ML. OF LUNG PUSS A seventeen-day artlife performance at Westchester Medical Center's Maria Fareri Children's Hospital in Valhalla, NY December 18, 2019 - January 3, 2020 650 ml. of Lung Puss was a seventeen-day performance initiated by a dire circumstance that ultimately demonstrated a quantum aspect of artlife processes. Influenced by my friend and artlife colleague Linda Mary Montano, the performance inspired a deeper understanding of a performance process that summons elemental energies from a nonlocational power source. These energies exist in a state of quantum superposition and can be programmed using intention, determination, focus, and sacrifice, to transmute pain, suffering, and trauma into tolerance, endurance, resilience, self awareness, control, forgiveness, grace, and gratitude. The performance began on December 18th when I carried my near lifeless and blue 94lb. daughter across a large, dark, silent, windy, and cold parking lot into the hospital's emergency room. The energies that fueled this difficult task were conjured from a deeply derived performative physical power cultivated by all mothers collectively throughout eternal time combined with the tension building from a deadlocked schism between my intuition and the medical authorities. In the past two days, we had been sent home from the emergency room and a pediatrician's office. Meanwhile, my daughter had developed sepsis from Scarlett Fever, Pneumonia, and a pleural effusion in her left lung. Our hospital performance engaged members of our close community, artlife collaborators and colleagues, friends and family, and the larger medical community of ambulance drivers, EMTs, emergency room attendants, nurses,doctors, phlebotomists, surgeons, lab and x-ray technicians, infectious disease specialists, sanitation specialists, medical administrators, and so on. Together, we collectively transformed into an unintentional ensemble performing actions together as our best selves in order to save a child's life. We embodied multiple and often simultaneous roles and embraced the fluctuating spaces between these modes. We performed as mothers, organizers, brothers, partners, distractors, whisperers of encouragement, visitors, tear swallowers, fear fighters, candle lighters, gift givers, keepers of tempers, story book readers, temperature takers, practitioners of patience, hand holders, phone callers, researchers, organizers, group texters, medicine givers, vomit bucket holders, comforters, food providers, errand runners, and healers. On the final day of our hospital performance, Linda texted "rest art!!!" to our group. We were finally able to go home, perform rest, and RESTART. This performance demonstrated that art and life function as entangled dimensions through subtle quantum artlife processes. We learned that approaches effective in art and performance dimensions are also effective in dimensions of life and other realities, and that intentions and actions occurring within one dimension simultaneously reflect, impact, and are made evident in multiple ways throughout multiple dimensions. Engaging with life circumstances through performative art mechanisms allows us to translate the diverse array of creative skills derived from our disciplined artlife practices, (our responsive, intuitive, reflexive, mindful, and conceptual abilities,) into cognitive modes of awareness that inform the new life patterns necessary to thrive as artists in life. Through this post-conceptualizing processes, we gain the ability to sidestep linear chronologies and reframe the concepts of our engagements post-performatively as a way to articulate with the personal mechanisms of awareness and control necessary to make meanings and choices that fortify our collective artlives in new and beneficial ways. List of Performers: Paul DeVincent, Ernest Goodmaw, Sylvia Hallibelle, Chris Hallman, Erik Hokanson, Eric Hurliman, Ulysses Hurliman, Bg Isabelle, Ed Isabelle, Kate Isabelle, Lou Isabelle, Louie Isabelle-DeVincent, Margie Isabelle, Nina Isabelle, Brian McCorkle, Jill McDermid, Paul McMahon, Linda Mary Montano, Ever Peacock, Mor Pipman, Valerie Sharp, Maureen Sharp, Luke Stence, Jennifer Zackin, and Havarah Zawaluk, many anonymous medical professionals, hospital workers, elementary school teachers, school nurses, community mothers and children.