(u)AV is a multifaceted interactive project exploring the collection, distribution, and ownership of data. At its foundation this project examines technology as it intersects with domestic spaces within modern society. The term “UAV” comes from the classification “unmanned aerial vehicle”. The terms UAV and drone are often seen as synonymous with one another. For this project I designed my own aerial surveillance vehicle, or “drone”, to fly over public spaces pushing the boundaries of what the FAA allows for "drones". Each location is chosen based on those requirements as well as public accessibility and climatic factors. Laws for drones and other UAVs are much stricter than for other technologically advanced aerial vehicles. Through this piece I question the validity and perception of these restrictions by using a simple kite and rig set up to take all of my photographs.
“Fashion Arsenal” is a new media project exploring themes of open source content on the internet, regulations, 3-D printing, and human rights. Currently there is much debate on ownership rights to M15’s as they have separate lower and upper receivers. Only the lower receiver has to be registered with the government, so individuals have the ability to fashion their own lower receiver out of alternative materials, and attach it to upper receivers to construct a working firearm that is not legally registered. By using electronic textiles and fabric, instead of the hard sterile materials typically associated with firearms, I am able to look at this topic through a new lens. By replacing the previously menacing and harsh exteriors with ones that are soft and inviting, the firearms now invite viewers to pick them up and fire them.
The Finger Gun is an adornment piece for the wearer's pointer forefinger. With the addition of the "Shoot 'em Up!" game installation, this wearable piece of art turns into a real live functioning firearm using infrared lights and sensors.
To operate the gun: hold finger straight to sight target and bend finger to shoot target
To determine the appropriate size use the following guidelines: small = ring size 3; medium = ring size 5; large = ring size 7; extra large = ring size 9
[Hardware and software is not included].
To print your own Finger Gun visit my Shapeways store at the following link:
Two Man Rule is an interactive piece that is only fully functional when two people set off the two triggers. Each trigger housing is built to be flipped up and the trigger switch flicked on. When both buttons are engaged the plexiglas in the wooden frame illuminates an image of mass destruction. Once one of the triggers are switched off, the other is no longer capable of triggering this imagery on its own.
“Story of the Century” is an interactive piece comprised of sculptural and video elements. A rear projection video projects onto the soft sculpture television from behind. In front a helmet sits on a chair for visitors to interact with and place on their heads. The helmet features speakers which connect to audio output of the video. Within the helmet is also a contact microphone, which senses the the presence of a person through vibrations. These movements trigger a program to take photographs of the viewer using a computer camera. These images are then saved into a file for storage. Behind the television are stacks of DVDs, labeled with the title, which contain copies of these documented photographs. “Story of the Century” explores concepts of surveillance, drones, human rights, and complacency. The gallery viewer watches a fictional rendering of two caricature drones bombing and surveying various locations. The whimsy and puppetry of this broadcast film demonstrates the ease with which society trivializes surveillance and our technological footprint. While the viewer is wearing the helmet and watching the video, they are constantly being surveyed themselves through a contact microphone and computer camera which uses vibrations to snap photographs of the viewer. These candid photographs open a dialogue of human rights to privacy through audience participation.
This series is an exploration of our throw away culture, where objects are quickly manufactured and antiquated within seconds of hitting the shelf. In a world where supply and demand has inflated the cost of living to incredibly high levels, it is a wonder we still feel the need and necessity to constantly replace and update. Manufacturers continually provide updates and services for devices, which more often than naught turn them into a brick, a paper weight at best, so as to create a need for a newer model.
In the United States one of our largest exports is garbage and scrap metal. We consume so much that our only exportable goods are the remains of what we’ve already tossed out, sent back to China to become something else which will eventually end up in a garbage heap.
The materials I use for “Dead Ringer” are all salvaged, either from garage sales, thrift stores, relatives and acquaintances, or old projects. These “junk” materials are given a new life in the shape of dead objects, long forgotten and made obsolete, whether by location, make, or function.
214: Respond + Adapt was a one day performance which took place in Gallery 214 at Northern Illinois University. Visiting artist Pate Conaway and graduate student Whitney Bandel collaborated together to create an event where both artists explored fibrous materials and worked within the perimeters of learning and distributing process and knowledge through hands on learning. Together they explored the traditions and legacies of fibers by developing a body of work through live performance, while inviting the audience to participate and explore art and the art making process through hands on investigation.
Following the above performance, Whitney Bandel was invited for a day to be a guest collaborator at Pate Conaway's month long performance/exhibition entitled "Weave!". Throughout the day the two collaborated again making several pieces that built off of one another and found objects.