post video portraits & virtual characters
Nascent
Nascent developed as a way of depicting the ancient woman pregnant—maternal, yet engaged with something outside of herself. She is pregnant not just literally, but with some idea of a future woman, one as yet uncoiled. In the globe, an adult woman is seen in a fetal position, which is represented again in the predella below in a sequence floating along a place filled with water and futuristic architecture. Whether she is seeing the future, her own progeny, or something else in this globe remains a mystery. In the Old Testament, Jezebel was both a mother and a queen.
Nascent, 2008
Ellen Sandor & (art)n: Chris Kemp, Thomas Meeker, Chris Day and Mike Seigel
Carla Gannis
Virtual Photograph/PHSCologram: Duratrans, Kodalth, Plexiglas
40 x 30 inches
The Trial of Anne H is inspired by the female Puritan minister who was exiled from her East Coast settlement for her outspoken views on the Bible and Native American rights. The piece is based on a drawing by Edwin Austin Abbey of Hutchinson's trial, creating a link, perhaps, to the increased politicization of environmental rights.
The Trial of Anne H., 2008
Ellen Sandor & (art)n: Chris Kemp and Thomas Meeker
Carla Gannis
Virtual Photograph/PHSCologram: Duratrans, Kodalth, Plexiglas
40 x 30 inches
The Trial of Anne H.
Ophelia
Ophelia is both a PHSCologram in which the body of a naked woman drifts at the bottom of a sea littered with refuse and drifting fragments of plastic bags. Although visually this plastic waste is seductive, softly reflecting light, these are nevertheless Pelagic plastics, non-biodegradable, now littering our oceans to a life-threatening degree. Ophelia is therefore an ode to loss, not just of youth and love as in Hamlet, but also to our own natural world and the possibility of living harmoniously within it.
Ophelia, 2008
Ellen Sandor & (art)n: Chris Kemp and Thomas Meeker
Claudia Hart
Virtual Photograph/PHSCologram: Duratrans, Kodalth, Plexiglas
40 x 30 inches
future, perfect
Future, Perfect, 2008
Claudia Hart
Ellen Sandor & (art)n: Chris Kemp, Mike Siegel, and Chris Day
Virtual Photograph/PHSCologram: Duratrans, Kodalth, Plexiglas
20 x 24 inches
Future Perfect plays with multiple references to the Utopian Modernism of the past, established by the Bauhaus in Germany and Chicago, referring to a time when technology aspired toward an egalitarian society, far removed from the contemporary reality of rapid technological innovation that seems to stoke endless fashion-based marketing.
In this scene, a virtual model of Kiki of Montparnasse, who was a painter, performer and muse of Man Ray and Brassaï, 20th century photographers and technological pioneers, reclines upon Mies van der Rohe's Barcelona daybed in the corner of the Farnsworth House, juxtaposed with a self-portrait by Ilse Bing.
Conceptually inspired by the black-and-white distortions of André Kertész, including the famous pose in "Satiric Dancer" in which a woman twists like a human pretzel, this Kiki is meant to be both beauty and beast, post-Modern and perhaps post-Human, in reflection of the chaotic times in which we live.
While Man Ray photographed glamorous actresses like Ava Gardner when he lived in Hollywood, Kiki was the icon of his masterworks. It can easily be said that she truly was the first media star, and a collaborator of the images they created together based on her vibrant persona. Photographs by Man Ray, Brassaï, André Kertész, Ilse Bing and Imogen Cunningham from the Richard and Ellen Sandor Family Collection were used for background research for this project, along with a photograph by Bill Hedrich of the Farnsworth House, designed by Ludwig Mies van der Rohe.
Sally C
Sally C, 2004
Ellen Sandor & (art)n: Keith Miller and Janine Fron
Gero Gries
Virtual Photograph/PHSCologram: Duratrans, Kodalth, Plexiglas
30 x 40 inches
Sally B
Sally B, 2004
Ellen Sandor & (art)n: Keith Miller and Janine Fron
Gero Gries
Virtual Photograph/PHSCologram: Duratrans, Kodalth, Plexiglas
30 x 40 inches
Towers and Bridges
Towers and Bridges, 2005
Ellen Sandor & (art)n: Nick Gaul
Miroslaw Rogala
Special thanks to Outerpretation, Inc.
40 x 30 inches
Virtual Photograph/PHSCologram: Duratrans, Kodalith, Plexigla
This work embraces the notions of virtualization, panorama, symbolism, scale, and interactivity to create three virtual towers. Has human nature changed in twenty-five hundred years?
The Tower of Babel expressed duration of time and transition. The tower climbs up to define humankind in terms of the ability to recognize each person s own power and struggle to achieve this. It is a metaphor for contemporary life for the individual to achieve greatness through his actions. A tower represents aspiration: it can always go higher, The destruction of a tower is the destruction of a dream.
Yet a tower is hierarchical: is higher better? In a vertical panorama, does hierarchy exist? Is the highest pixel the best pixel? Has human nature changed in one hundred years?
Bridges represent communication in our present 21st century—a merger of the past, present, and future. The bridge is a negotiation between power and control. Like the tower, it is optimistic: the two sides of the river, or cliff, or overpass can be joined. The two vertical towers depicted are individual monuments aiming for vertical panorama, expressed by poses while morphing and being animated. The imaginary third tower consisting of text and the two disjointed sections of a monitor transmitting fire spanning the center represent a virtualization—a highway dividing the streams of text, and a bridge across the centuries. Issues of power and control are further explored in the depiction of the Berlin Wall and surveillance by helicopters. One may think that the Berlin Wall was a temporary existence; younger generations may observe it as a virtual phenomenon. Contrasts are represented by the chance of continuation and the unpredictable destiny of extinction; e.g., the slower deterioration of monuments such as Stonehenge and the immediate destruction reflected by the exploding tank and blazing fires. Will human nature change in twenty-five hundred years?
The bridge (Brooklyn Bridge) represents passage of time, not of value the Twin Towers in the background ask the question: is it worth it to build more towers while bridges are deteriorating and collapsing?
If bridges create the network between towers in the physical world, towers create the network for the virtual world—the broadcast tower, the satellite tower, the cell-phone tower. As towers become higher and higher, do they reduce the need for bridges between them, or do they intensify that need? Will the future be a network of towers, interconnected by bridges? Are bridges our new communication tools? Are new communication tools our bridges?
Bridges can connect us, bring us together, and allow us to cross an obstacle. Somewhere on this highway running through us is the pixel between the past and the future, between adversity and hope, between survival and disappearance; its pavement is the new digital canvas on which we map our lives.
Time Gate
Time Gate, 2004
Ellen Sandor & (art)n: Keith Miller
Zhou Brothers
Virtual Photograph/PHSCologram: Duratrans, Kodalth, Plexiglas
30 x 40 inches
New Beginnings
New Beginnings, 2004
Ellen Sandor & (art)n: Keith Miller
Zhou Brothers
Virtual Photograph/PHSCologram: Duratrans, Kodalth, Plexiglas
30 x 40 inches
Political Agenda
Political Agenda 1999
Ellen Sandor & (art)n: Fernando Orellana, Nichole Maury and Janine Fron
Charles Csuri and Matthew Lewis, ACCAD, The Ohio State University
Virtual Photograph/PHSCologram: Duratrans, Kodalth, Plexiglas
30 x 40 inches
divided we speak
A unique collaborative study in sculpture, photography, sound, and poetry, based on an audience interactive media symphony in six movements by Miroslaw Rogola and collaborators. Commissioned and shown by the Museum of Contemporary Art, Chicago in the Fall of 1997. Interactive poetry and music installation by Rogola, Jennifer Gou, Ken Nordine, Steve Boyer, and Mac Rutan.
SKETCH i
SKETCH ii
SKETCH iii
DIVIDED WE SPEAK: Virtual Sketch I, II & III, 1997
Ellen Sandor & (art)n: Stephan Meyers and Janine Fron
Miroslaw Rogala
Alan Cruz, Electronic Visualization Laboratory, the University of Illinois at Chicago
Interactive PHSCologram Installation: (3) 30 x40 inches
Virtual Photographs/PHSColograms: Duratrans, Kodalith, Plexiglas
Fragments of the Past
Fragments of the Past, 1995
Charles Csuri, Matthew Lewis, & Steve May, ACCAD, The Ohio State University
Ellen Sandor & (art)n: Stephan Meyers, and Janine Fron
Virtual Photograph/PHSCologram: Duratrans, Kodalth, Plexiglas
30 x 40 inches
renewal
Renewal, 1995
Charles Csuri, Matthew Lewis, & Steve May, ACCAD, The Ohio State University
Ellen Sandor & (art)n: Stephan Meyers and Janine Fron
Virtual Photograph/PHSCologram: Duratrans, Kodalth, Plexiglas
30 x 40 inches
Ryan's Hand
From the film "Ryan," directed by Chris Landreth, produced by Copper Heart Entertainment and the National Film Board of Canada. Ryan is an animated tribute to Canadian animator Ryan Larkin for which Landreth won the Oscar for Best Short Animation in 2005.
Ryan’s Hand, 2006
Chris Landreth
Ellen Sandor & (art)n: Chris Kemp and Janine Fron
Virtual Photograph/PHSCologram: Duratrans, Kodalth, Plexiglas
20 x 24 inches
Bingo
Bingo, 1999
Ellen Sandor & (art)n: Stephan Meyers and Janine Fron
Chris Landreth
Virtual Photograph/PHSCologram: Duratrans, Kodalth, Plexiglas
30 x 30 inches
the end/Film Still II. Female
The End/Film Still II, Female, 1993
Ellen Sandor & (art)n: Stephan Meyers and Janine Fron
Chris Landreth & Charles Tappan
Virtual Photograph/PHSCologram: Cibachrome, Kodalth, Plexiglas
(10 x 8), (30 x 30), (48 x 40) inches
PHSCologram: Iris, Kodalth, & Plexiglas tiled mural
(6) 24 x 20 inches
the end/Film Still II. Male
The End/Film Still II, Male, 1993
Ellen Sandor & (art)n: Stephan Meyers and Janine Fron
Chris Landreth & Charles Tappan
Virtual Photograph/PHSCologram: Cibachrome, Kodalth, Plexiglas
(40 x 30), (24 x 20) inches
Virtual Bust/Franz K.
Virtual Bust/Franz K., 1993
Ellen Sandor & (art)n: Stephan Meyers and Janine Fron
Chris Landreth
Virtual Photograph/PHSCologram: Cibachrome, Kodalth, Plexiglas
(10 x 8), (30 x 30) inches
Virtual Bust/Genie
Virtual Bust/Genie, 1993
Ellen Sandor & (art)n: Stephan Meyers, Janine Fron & Craig Ahmer
Steve Glenn & Mike Fusco, SimGraphics
Virtual Photograph/PHSCologram: Cibachrome, Kodalth, Plexiglas
30 x 30 inches
Virtual Bust/Dynamation Man
Virtual Bust/Dynamation Man, 1993
Ellen Sandor & (art)n: Stephan Meyers, Janine Fron & Craig Ahmer
Steve Glenn & Mike Fusco, SimGraphics
Virtual Photograph/PHSCologram: Cibachrome, Kodalth, Plexiglas
30 x 30 inches
Virtual Bust/Roscoe
Virtual Bust/Roscoe, 1993
Ellen Sandor & (art)n: Stephan Meyers and Janine Fron
Brad DeGraff
Virtual Photograph/PHSCologram: Cibachrome, Kodalth, Plexiglas
30 x 30 inches
Media Marionette Character Sketch
Media Marionette Character Sketch, 1997
Ellen Sandor & (art)n: Stephan Meyers & Janine Fron
Todd Alan Harvey, Rhythm & Hues
vintage rotated PHSCologram: computer interleaved Duratrans and Kodalith films mounted on plexiglas
24 x 20 inches