Hi-Res at VCFA

quarter
A quarter, covered in silver paint, was payment for participants in my offline (conference) version of Mediations on Digital Labor.

I’m sitting in the Burlington airport, awaiting my flight home from a sweet time in Montpelier, Vermont during “Hi-Res.” In opposition to the MFA low-residency program that alumni undergo at VCFA (some from as long ago as 1992!), Hi-Res is the first annual, multidisciplinary alumni conference for VCFA MFA students. In the good company of visual arts grads who presented works such as Ambivalently Yours by (I was going to include her name but remembered how she likes to remain anonymous online…let’s just say a 2012 graduate) and Cards Against Brutality (Kristin Serafini 2014), I presented my recent project Mediations on Digital Labor. MFA grads from the writing programs as well as a spectacular presentation made by Beth Bradfish from the Music Composition MFA program all centered on the theme of advocacy in the arts.

I’m still abuzz from my Vermont experience. VCFA never fails to deliver a sense of belonging, community, and commitment to our practices that fills the soul.

Mediations on Digital Labor in the OC Weekly

THE OC WEEKLY favorably covered my exhibition in the Grand Central Arts Center Project Room in last week’s printed edition. In Jail Benches and Amazon.com at Santa Ana’s Grand Central Art Center Dave Barton understood the project as “a deceptively simple take on low-wage jobs.”

I captured the above video to showcase the hand-drawn aspect of the exhibition, which Barton described as “chalked out on the floor of the gallery, using the natural lines of the black utility tile to provide something akin to a giant piece of lined paper, with the worker’s feedback done in cursive or block letters.”

Seen and heard below: A time-lapse video created on the night of the opening showcases the fragile nature of the “unencrypted data” on the floor of the gallery while the Mturk workers chant in unison (my digital post-production mediation). Barton wrote, “The now ephemeral quality of work (and lack of security that comes with it) reveals itself on the installation itself. Patrons have to interact with the misery of the workers represented: If they want to read what has been written, they have to stand on other words to do so. Those words—and the work represented by those words—slowly becomes an indecipherable blur of white chalk dust after enough people have shuffled through it.”