HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... FEEDING THE ENTITY MARCH 2015 Clara Diamond & Nina Isabelle Feeding The Entity explores the development and agenda of interwoven notions of communal beliefs, material dynamics, possibilities of non-linear physical travel implied through numbers expressing location using longitude and latitude, the metaphor of breath in relation to inspiration and language styles expressing give-and-take or push/pull communication patterns, the articulation of verbal concepts in relation to the movement between ball-and-socket joints such as the hips and shoulders during the birthing-process, as well as the documentation of scientifically unsubstantiated effects of focused intention and ritual action in non-physical reality such as memory, deja-vu, and other phenomena of psychic imprint.

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... THE VIDEO MANIFESTATION SYSTEM USER ARCHIVE Download Video Manifestation System from HUMAN TRASH DUMP here: https://archive.org/details/htdc005 ALICE TEEPLE December 9, 2019 Manifesting Ethical And Sustainable Paths Best Suited To Artists' True Calling ​ ALICE TEEPLE December 8, 2019 Video Manifestation System to Manifest A Balance of the Divine Masculine and Feminine ​ ALICE TEEPLE January 4, 2018 Video Manifestation System to Manifest Excellent Career Opportunities ​ NINA ISABELLE November 18, 2017 Video Manifestation System Video to Manifest a Video Manifestation System ​

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 Three Phase Canter is a space for organizing collaborative art research and perception building situations through presenting projects and workshops designed to stimulate the types of community and dialogue that generate and build new possibilities and outcomes. . 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... ART/LIFE KINGSTON CLARA DIAMOND & NINA ISABELLE 2016

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... SHAPE OF A FEELING Photographs of Piles by Nina Isabelle COLLECTION STARTED NOVEMBER 12, 2018

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... SEEMRIPPER A conceptual video-performance demonstrating artist as self replicator The Elizabeth Foundation As Far As The Heart Can See Curated by Nicolás Dumit Estévez October 2018 Seemripper was produced using The Self-Limiting Conceptual Video Production Process; a system that interlaces action, duration, direction, speed, sound, color, sequence, subject and object to form a linear audio and visual arrangement. The Self-Limiting Conceptual Video Production Process was designed as a system to sidestep consciousness in order to access lateral dimensions of awareness and is a continuation of The Video Manifestation System released by Human Trash Dump in January 2018. The video-performance frames the artist as a self replicator caught in a recursive loop of infinite destruction and renewal generated by the physical and quantum relationships between fire, water, air, metal and earth. This project was initiated by Linda Mary Montano as part of 'In Honor Of,' a performance series Curated by Nicolás Dumit Estévez Raful with curatorial fellow JP - Anne Giera at The Elizabeth Foundation in New York City on October 20, 2018. Performers were nominated by artists featured in 'As Far As The Heart Can See' (Nao Bustamante, Billy X. Curmano, Irina Danilova & Project 59, Beatrice Glow, Ivan Monforte, Linda Mary Montano, Praxis (Delia & Brainard Carey), Beth Stephens & Annie Sprinkle, and Martha Wilson & Franklin Furnace Archive) and include former mentees, current students, assistants and younger artists whose work they admire: Elena Bajo Bajo, Sindy Butz, Larissa Gilbert, Nina Isabelle and Xinan (Helen) Ran.

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.

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... UNITY THE LACE MILL ​ KINGSTON, NY MAY 6, 2017 ​ The UNITY show is a partnership of artists from along the Cornell Street corridor — the Shirt Factory, Pajama Factory, Brush Factory, Cornell Street Studios and The Lace Mill — whose works will be exhibited at The Lace Mill’s East Gallery and West Gallery, 165 Cornell Street, Kingston. The show’s opening reception will be held Saturday, May 6 from 5 p.m. to 8 p.m. Disciplines include painting, sculpture, ceramics, performance, installation, music, and dance, video, puppetry for kids, and sonic meditation. Artwork, like Election Night March 2017 by Leslie Bender, at right will be featured. A closing reception the following on Saturday, May 13 from 5:30 p.m. to 8 p.m., features live performance-based art such as dance, video and music. Inspired by the newly launched Midtown Arts District (MAD) last year, Lace Mill community arts liaison Sarah Carlson and Shirt Factory events coordinator Lisa Kelley started discussing the possibilities of joining forces to create a dynamic group show of the buildings’ artists while also supporting the mission and initiatives of MAD. Carlson explains, “I wanted to do a show that was about what we have in common, rather than what divides us, and to have that conversation as a community. It seemed sweet to open that dialogue to the arts corridor right here and a nice way for us to dialogue about what’s happening on the local national stage. As artists, that’s what we do.” Kelley adds, “I love Sarah’s idea for bringing our artists together with the theme of unity. Over the last year, the Midtown Arts District and Mike Piazza’s artist factory buildings have supported this kind of collaboration between artists. I believe we’re planting some fertile seeds for exciting partnerships in the future.” Over two dozen artists will participate in UNITY.

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.

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... CYBORGS & GENDER August 25, 2017 A male and female robot bicker about a human woman who is climbing dangerously high up into a tree in the dark while her daughter waits below in a wolf costume. What might happen when human actions align with AI intention? The soundtrack was produced using Apple's text-to-speech system. ​ ​ Photo by Ming Liu

Top of Page HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... ANIMAL MAXIMALISM GREEN KILL 229 Greenkill Ave. kingston, NY October 1-15, 2016 Opening Reception: Saturday October 1, 5:PM-8:PM www.greenkill.org Animal Maximalism is a hyperactive schizophrenic super-destroying maximalist art show that functions as homeopathic immersion therapy for highly sensitive people (HSP) and a lullaby for all others. Sound, video, performance, painting, photography, music, and sculpture are combined into a simultaneous experience in an attempt to exercise the human sensory input manifold. Elements of The Superfund Re-Visioning Project, The Windmill Weapon Matron, The Entity and Constituents, The Giant Candle, Fun Times! , and C O D E, as well as multiple abstract paintings, and photographs were included in the exhibit.. Videos presented were Certain Solutions For Dissolving Problems, Double-Slit, The Ax In The Stump , and The Locational Trauma Transforming Trap , among others. Performances included new work by International performance artist and musician Marita Isobel Solberg, Dirt Boy, who used buckets of dirt to perform an earthmoving action called $ouls for $ale- $1 Million Buckets of Dirt , Clara Diamond reconstituted the constituents of The Entity , and dancer Lucie Parker moved through nonspecific space performing a deconstructed ballet. Musical performance by Bitty Holly Hannah and Simon Ampel of Sighanide was part of the exhibit, as well as Interactive opportunities including A Course in Miracles and Other Unlabeled Alcohol To Be Drunk and The Fuck Trump Pot Luck . ​ DIRT BOY is a rouge spirit. This cloaked being wanders the earth sculpting the terrain to suit his strange visions in order to transcend the dimension of violence and suffering. In 2109 Dirt Boy successfully converted the earth to use the non-linear peace dimension in which time does not exist. He has decided to demonstrate his earth moving capabilities in order to bring entertainment and wonder to those still stuck in the dimension of time, violence, and suffering. ​ CLARA DIAMOND is a performance artist working with impermanence, degeneration, and transformation, seeking to challenge the notion of impermanence by presenting “art objects” such as the body, action, experience, memory, and story. Clara’s process often incorporates tactile elements such as plaster, earth, and wax to wrap, coat, or layer the physical body within a temporary installation environment. Using text features such as books, signs and spoken words, as well as thematic or narrative work cycles, Clara exploits symbols, stories, physical space, and other subtle notions of relationships. A persistent theme of object-making as performance runs through her work, resulting in the manifestation of inconsequential art-objects or garbage, which drives the procession of narrative across related pieces. ​ http://www.starhousegallery.com/#!clara-diamond/h79q5 ​ NINA ISABELLE is a multidisciplinary artist working with abstract painting, performance, video, photography, and sculpture. Her background also includes alternative process photography and modern dance. She identifies with Maximalism and Action Art, embracing the concepts of “too much” and “more is more.” Nina pushes material and information past the point of recognition in a way that forces a shift in meaning, reveling new information that can transform and challenge the limits of materials, perception, and belief. Sensory input is deconstructed to the extent that meaning becomes shifted and interpretations become a phenomena of psychic imprint. Her work often references 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. Nina is the Director of Star House Gallery & Studio in Kingston, NY where she practices as a studio artist and gallery director curating group shows featuring abstract artists. In the past year she has participated in the Upstate Vignette Video Project II with F.A.G (Feminist Art Group) from Brooklyn at Rosekill, performed at Panoply Performance Lab in Brooklyn as well as at The Linda Mary Montano Art / Life Institute in Kingston. Her work has been exhibited at Czong Institute for Contemporary Art (CICA) Museum in Gimpo, Korea as well as in The New School’s Social Justice Show at The Bushwick Collective. She is currently a contributor to The Jurnquist Coloringbook show by Honey McMoney at Studio Fidlär in Berlin, her film Mother vs. God will be shown at The San Diego Art Institute in October, and in January 2016 Nina was interviewed by the International Art Publication, ArticulAction Special Issue. ​ www.ninaisabelle.com ​ LUCIE PARKER is a multidisciplinary artist studying modern dance, martial arts, photography, visual art, and theatre. Lucie is a student of Hudson Valley Sudbury School and lives in Kingston, NY. ​ SIGHANIDE is what happens when feral backwoods Appalachia meets bluesy city rhythm. With Bitty Holly Hannah sculpting out melancholy songs and Simon Ampel, on drums, executing the rhythm. Outside of Sighanide, Bitty is a multi-disciplinary artist and student, focused on the study of healing religious trauma through art. Simon is an animated film-maker enraptured with drawing movement and memory. Both hailing from their own mountains, they found one another in the midst of Brooklyn's madness. ​ https://www.facebook.com/sighanidekids/?fref=ts ​ MARA AKA MARITA ISOBEL SOLBERG is an international performance artist, musician, and visual artist from Tromsø and Manndalen, Norway. She is working in the borderline between art, life and science, focusing mainly on sound, performance art and installation. Experimenting with different medias in her work and interweaving elements from the surroundings, Solberg’s work is often site-specific and relational, reinforced by a strong performative tension. The works explore a world of challenge, strangeness, melancholy and desire sometimes with narrative passages or content, mixing with more symbolic and ritual elements. ​ http://www.maritaisobelsolberg.virb.com ​ THE WINDMILL WEAPON MATRON ​ Dimensions: 90h x 53w x 45d Materials: Sawhorse, Lumber, Construction Materials, Spray Paint, House Paint, Afghans, Weapons, Bicycle Parts, Yarn, Plaster, Terra Cotta, Chain. Date: May 12, 2016 The Windmill Weapon Matron 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’s 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. THE Q:ENTITY AND Q:INFORMATICUS Clara Diamond / Nina Isabelle Q:Informaticus, a division of The Q:Entity Corporation, is designed to generate constituents as information receptacles programmed to solve unreal and/or otherworldly problems. Q:Informaticus directs functional information along proper dispersal channels activating the psychic conduits of multiple physical bodies. Activation originates at the coccyx and rises through the spine while keeping operational residence within the instinctive functioning portions of the guts, heart, and brain meat, matter, fluid, and circuitry using complex interlaced bacteria and neuroelectric pathways programmed to transmit and receive local and non-local information. The sensory input perception manifolds within all programmed constituents will evolve and transform comfortably to reduce validation of information received through the physical portals known as eyeballs, tongue, ears, and skin. Alternative modalities of perception will be established and activated. Q: Informaticus: for people who want to solve unreal and / or otherworldly problems. There are few career paths, be it scientific research, business, design, medicine, the fine arts, or telecommunications, in which Q won't play an important part of your work. Healthcare specialists use Q records to help diagnose disease and discover new ways of treating patients. Advertising firms use Q data to create visualizations of customer behavior. Environmental scientists compile big Q data to track the impact of climate change. Smartphones are awash with Q apps that can do everything from pay your bills to find the next band you might like. All of those applications and much more are Q: informaticus in action putting Q to work to solve complex problems. Utilizing Q: informaticus to study Q technology impacts academic disciplines in the science, arts, medicine, business, and telecommunications fields. Q is also one of the fastest growing fields in technology, and the demand is high. Last year alone, 88 percent of Q: informaticus constituents secured full-time employment within six months. Among students holding Master's degrees or a Ph.D., 98 percent accepted employment within six months of graduation. In a world of stagnating salaries, Q: informaticus constituents also enjoy an average salary. Q:Informaticus lays out a bright, flexible, structural path to a future and imparts valuable real-world experience and works side-by-side with some of the most innovative thinkers in the field. Q:Informaticus prepares, excites, severs programming, technologizes, and generates futures. THE SUPERFUND RE-VISIONING PROJECT ​ The Superfund Re-Visioning Project is an experimental artistic process that aims to transform contaminated industrial sites recognized by The United States Government as Superfund Sites. In New York State there are one hundred and seventeen Superfund Sites, this project will focus on transforming and energetically remediating those sites by redirecting potential energy toward alternate futures using combinations of photography, dance, video, song, sculpture, writing, and drawing. Superfund sites are polluted locations requiring a long-term response to clean up hazardous material and contaminations. CERCLA authorized the United States Environmental Protection Agency (EPA) to create a list of such locations, which are placed on the National Priorities List (NPL). CERCLA stands for the Comprehensive Environmental Response, Compensation, and Liability Act, known also as Superfund. It was passed in 1980 in response to some alarming and decidedly unacceptable hazardous waste practices and management going on in the 1970s. While CERCLA and other Government agencies have been able to compile large lists, testing, and data their processes often lack resolve and are tremendously expensive. Environmental contaminations such as those found in many of the New York State Superfund Sites has been implicated as a possible factor contributing to global warming. ​ Three New York State Superfund sites have been preliminarily re-visioned In order to illustrate the process of The Superfund Re-Visioning Project and to function as examples for interested artists and community members to consider. The preliminary Superfund site re-visions include the Boices Lane Office Depot building in Kingston, NY., a defunct IBM Industrial Complex in Kingston, NY, and an archived Superfund site located in West Hurley, NY called Numrich Arms that has operated as a weapons and ammunition manufacturing facility. ​ 1. BOICES LANE OFFICE DEPOT The Office Depot Superfund Site has been re-visioned as a future bio dome for butterflies. Project Completion Date: 2816 State environmental officials have added the Boices Lane plaza where Office Depot used to operate to a list of Superfund sites that pose a threat to public health. The Department of Environmental Conservation, in a notification dated Oct. 21, said the contamination was found in an area of the property where there previously was a dry cleaner. “Based on investigations the primary contaminants of concern include tetrachlorethylene (PCE) and its degradation products in the groundwater, soil, soil vapor and/or indoor air,” the department wrote. 2. IBM / TECH CITY KINGSTON The archived IBM Superfund site has been re-visioned as a research and treatment center for those who have lost the ability to communicate telepathically. Project Completion Date: May 5, 4011 The condemned IBM / Tech City complex is a superfund site located along Neighborhood Rd in Kingston, NY. The Environmental Protection Agency (EPA) identifies sites such as IBM / Tech City because they pose or had once posed a potential risk to human health and/or the environment due to contamination by one or more hazardous wastes. IIBM is currently registered as an archived superfund site by the EPA and does not require any clean up action or further investigation at this time. 3. NUMRICH GUN PARTS CORPORATION Numrich Gun Parts Corporation has been re-visioned as the future archaeological dig site revealing artifacts that will implicate technologies role in the destruction of humans. Project Completion Date: May 5, 3016 Numrich Gun Parts Corporation is a weapons and ammunition manufacturing plant and distribution center located in West Hurley, NY. that had been investigated for lead contamination of nearby residential water wells. The Environmental Protection Agency (EPA) identifies sites such as Numrich Gun Parts Corporation because they pose or had once posed a potential risk to human health and/or the environment due to contamination by one or more hazardous wastes. Numrich Gun Parts Corporation is currently registered as an archived Superfund site by the EPA and does not require any clean up, action, or further investigation at this time. The effectiveness of The Superfund Re-Visioning Project lies in its ability to utilize a combination of existing contaminated locations and factual documentation of specific contaminating factors in conjunction with fictional and ridiculous psychic predictions presented as fact in order to further blur the lines between science and belief and to challenge the validity of projected and legitimized possible future outcomes. In this way, The Superfund Re-Visioning Project shifts belief and science in a way that helps us recognize our own ridiculousness as a possible culprit. Ridiculous circumstances call for a ridiculous approach. Within The Superfund Re-Visioning Project, and specifically in the case of environmental contamination, levels of ridiculousness may indicate high probability of successful outcome. Because Earth's current level of environmental contamination and global warming are ridiculous, it is logical to conclude a solution based on ridiculousness. This is a creative artistic approach to shifting perception of science and logic. . VIDEO DESCRIPTIONS CERTAIN SOLUTIONS FOR DISSOLVING PROBLEMS VIDEO / 2:53 Nina Isabelle 2016 ​ 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 included in an exhibition called Artist and Location at The Czong Institute For Contemporary Art in Gimpo, Korea. LOCATIONAL TRAUMA TRANSFORM VIDEO / WOVEN OBJECT 2:53 Nina Isabelle / Neva Isabelle 2016 Neva & Nina Isabelle construct a handwoven trauma trap using black silk and gymnastics chalk that is used to absorb and transform trauma located at 40.8987° N, 77.3561° W. THE GIANT CANDLE - ENVIRONMENTAL HEALING SPELL BY PROXY VIDEO / 2:43 Nina Isabelle 2016 The Giant Candle - Environmental Healing Spell By Proxy is a video spell designed as part of The Superfund Re-visioning Project. This video works remotely with an undisclosed location in Ulster County, NY that is the subject of industrial solvent contamination, death threats, labor rights violations, hauntings, and suicide by forklift. The Giant Candle burns by proxy to cleanse the location remotely. Voice- Brittany Holly Hannah / Dance- Lucie Parker. C O D E VIDEO / PAINTING 5:35 Nina Isabelle 2016 This work was made in response to Apple’s battle with the FBI over a federal order to unlock the iPhone of a mass shooter and looks at the differences between humans and machines, specifically ways information and data can be hidden or revealed by programming, intention, or choice. THE AX IN THE STUMP VIDEO / 3:16 Nina Isabelle 2016 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. The video is directed by Nina Isabelle using a voiceover sampled from Ellen Vereniek narrating Magic Hoofbeats and an anonymous cast member. ​ MOTHER VS. GOD VIDEO / :47 NINA ISABELLE 2016 Mother vs. God is an experimental video that uses personal photographs combined with multiple sound tracks of digitally altered voice and electrified violin. The compilation of multiple media and input results in a distortion that parallels the dialogue that can exist between religious beliefs and psychotic delusions. In October 2016 Mother vs. God was chosen by Marilyn Manson’s Daisy Berkowitz, Scott Mitchell Putesky, as part of The San Diego Art Institute’s show The Dead Are Not Quiet. DOUBLE SLIT VIDEO / 1:01 Nina Isabelle 2016 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? ​ ​

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... THE VIDEO MANIFESTATION SYSTEM A METHODOLOGY FOR MANUFACTURING NEW REALITIES Released by HUMAN TRASH DUMP on ARCHIVE.ORG ​ NOVEMBER 2017 ​ Download Video Manifestation System from HUMAN TRASH DUMP here: https://archive.org/details/htdc005 (CLICK HERE TO VIEW THE VMS USER ARCHIVE ) Free download: The VMS User Manual INTRODUCTION ​ The Video Manifestation System offers users a radicalized system to build and shape reality. By interlacing specific VMS concepts like user approach, intention, perception, and language with the Multidimensional Human Perception Apparatus, VMS offers users a tool to build useful realities while simultaneously eliminating outmoded corporeality. VMS transforms beneficial etherial notions, wishes, dreams or ideas into tangible reality. By psychically entangling multiple abstractions extrapolated from the experimental statistics and algebraic concepts that have preceded non-locality, quantum teleportation, and superdense coding, VMS aligns intention with action to produce a compact five-minute digital video capable of manufacturing realities. Complete with prescriptive application suggestions for maximum results, users enjoy a simple ten-step interface with infinite reality building possibilities. VMS incorporates a biopsychospiritual approach to reality building which expands upon a model of human cognition developed by neuroscientist Karl Pribram and physicist David Bohm called the holonomic brain theory that describes the brain as a holographic storage network. By stretching the boundaries of the holonimic brain to include the holonomic energy bodies, VMS is able to access The Multidimensional Human Perception Apparatus (MHPA,) an invisible system capable of transducing the seen and unseen systems of the inner and outer holonomic energy bodies. Shaped like an amorphic electronic cloud, and made up of subatomic elementary particles like tau neutrinos within and surrounding the body, the MHPA remains unbound by namable physical structures and is key to rediscovering the reality manufacturing capabilities once central to human functioning. Prolonged interface with the slow and heavy dimension of physical reality has jammed up and run down the MHPA. Over time, central manifestation components of the MHPA, such as gut biomes and subquantum receptive structures within the cerebral spinal fluid surrounding the brain and brainstem, have become ineffective. VMS works to restore the MHPA functions by engaging users in a process intended to distract the conscious linear logic mind, effectively creating an intentional feedback loop. Building reality begins with perception. With the conscious linear logic mind out of the way, the inner workings of the MHPA are allowed to surface and be directed toward reality building ventures. Designed to facilitate singular and multiple aspects of both internal and external realities through its micro/macro input manifold, VMS is an effective tool for revising a broad range of issues and circumstances ranging from internal personal mental and emotional struggles like boredom, lethargy, dyscalculia, co-dependance, and heartbreak to physical conditions like high blood pressure, whip lash, sciatica, poison ivy, aphasia, temporal lobe epilepsy, and broken bones. VMS also makes it possible to address complex problems within a community or family dynamic such as authoritarianism, prolonged bitter quarrels, dishonesty, and miscommunications and is also a powerful instrument for reshaping dysfunctional pieces of corporeal reality not limited to broken waste oil burners, miscalibrated stopwatches, busted serpentine belts, misaligned zippers or stuck elevators. Larger external dangers such as injustices due to the abuse of political or economic power systems like racism, genocide, domestic violence, mass shootings, Satanic cults, and violent regimes have also proved pliant. As an interface, VMS connects humans to powerful forces of nature and offers a way to transform destructive energies resulting from disasters like tsunamis, pollution, wild fires, blight, drought, crop damage, nuclear war, sink holes and volcanos into a generative force fueled by natural and cosmic elements that can be directed into new realities or dispersed as weather phenomena. Users are encouraged to think galactic. VMS has been proven useful for wrangling cosmic energies, entities as well as astral bodies like planets, moons, black and worm holes, comets, solar storms, and supernovas.

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... WEST HALL OPEN STUDIO RENSSELAER POLYTECHNIC INSTITUTE TROY, NY DECEMBER 11, 2022

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... MOTHER VS. GOD SAN DIEGO ART INSTITUTE / THE DEAD ARE NOT QUIET OCTOBER 2016 ​ Mother vs. God uses personal photographs combined with multiple sound tracks of digitally altered voice and electronic violin. The compilation of multiple media and input results in a distortion that parallels the dialogue that can exist between religious beliefs and psychotic delusions. In October 2016 Mother vs. God was chosen by Marilyn Manson’s Daisy Berkowitz, Scott Mitchell Putesky, as part of The San Diego Art Institute’s show The Dead Are Not Quiet.

Nina Isabelle HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... PAINTINGS 2015 60-2015, 22x30 60-2015, 22x30 59-2015, 22x30 59-2015, 22x30 58-2015 gouache, tempera, spray paint, acrylic on paper, 42x30 57-2015 gouache, tempera, spray paint, acrylic on paper, 42x30 frontalis.jpg Frontalis, 44x36, tempera on paper Go to link 56-201549_n gouache, tempera, spray paint, acrylic on paper, 42x30 55-2015 gouache, tempera, spray paint, acrylic on paper, 42x30 54-2015 gouache, tempera, spray paint, pencil on paper, 22x30 53-2015 gouache, tempera, spray paint, pencil on paper, 22x30 52-2015.jpg 52-2015, 24x30, oil & spray paint on canvas 51-2015.jpg 51-2015, 24x30, oil & spray paint on canvas 50-2015.jpg 50-2015, 24x30, oil & spray paint on canvas 49-2015.jpg 49-2015, 60x60, oil & spray paint on canvas 48-2015.jpg 48-2015, 72x72, oil & spray paint, brick twine, on canvas 47-2015.jpg 47-2015 87x87 46-2015.jpg 46-2015, 54x45, oil & spray paint on canvas 45-2015.jpg 45-2015, 54x45, oil & spray paint on canvas 44-2015.jpg 44-2015, oil, pastel, spray paint on canvas,, 54x45 43-2015-web.jpg 22x30, oil & spray paint on prepared paper occipital tempera on paper, 44x36 42-2015-web.jpg 22x30, oil & spray paint on prepared paper 41-2015-web.jpg 22x30, oil & spray paint on prepared paper 40-2015-web.jpg 22x30, oil & spray paint on prepared paper 39-2015-web.jpg 22x30, oil & spray paint on prepared paper 38-2015-2-web.jpg 22x30, oil & spray paint on prepared paper 37-2015-web.jpg 22x30, oil & spray paint on prepared paper hip.jpg Hip, 44x36, tempera on paper Go to link 36-2015-web.jpg oil & spray paint on canvas 32-2015 copy.jpg 24x24, oil & spray paint on masonite, 2015 30-2015 copy.jpg 24x24, oil & spray paint on masonite, 2015 35-2015 copy.jpg 22x30, oil & spray paint on masonite, 2015 34-2015 copy.jpg 24x24, oil & spray paint on masonite, 2015 33-2015 copy.jpg 24x24, oil & spray paint on masonite, 2015 31-2015 copy.jpg 29-2015-web.jpg lungs.jpg Lungs, 44x36, tempera on paper Go to link 28-2015 copy.jpg 40x18, oil & spray paint on masonite, 2015 27-2015 36x36, oil & spray paint on canvas, 2015 26-2015 36x36, oil & spray paint on canvas, 2015 25-2015 36x36, oil & spray paint on canvas, 2015 24-2015 48x48, oil on canvas, 2015 23-2015 48x48, oil on canvas, 2015 22-2015 48x48, oil on canvas, 2015 13-2015 18x24, oil & spray paint on masonite, 2015 21-2015 32x48, oil & spray paint on masonite 20-2015 36x36, oil & spray paint on canvas, 2015 19-2015 36x36, oil & spray paint on canvas, 2015 18-2015 36x36, oil & spray paint on canvas, 2015 17-2015 36x36, oil & spray paint on canvas, 2015 16-2015 36x36, oil & spray paint on canvas, 2015 1/2

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.”

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

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... IMAGINED PERFORMANCE STORYTIME WITH IV CASTELLANOS Imagined Performance written by Nina Isabelle and read live on Instagram by IV Castellanos @iv_castellanos Para\\el Performance Space February 12, 2021 READ BY IV CASTELLANOS: You will be guided through a sequence of events that have been systematically untethered from any and all singular, multiple, or quantifiable physical locations. Any and all astral, psychic, temporal, and somatic pins have been removed from the fabric of time. All known and unknown extradimensions will be accessible to you. Some of the events may feel familiar to you. You might recognize the radiator in this space. You might be familiar with the sound of my voice or the way this space expands and contracts at will. Sometimes this space is as large as a destroyed production room of an old abandoned textile factory with remains of broken equipment The person sat down. The seated person had an idea and hoped to untangle it by sitting down. They started to speak out loud- "I have an idea and I want to sit down." They didn't say the next part out loud but only thought it to themself inside their own quiet mind - "I'm not sure where to start." The next part involves the person discussing with themselves what they believe they know about three things; beginnings, middles, and ends. A lot of time goes by. The person sits and thinks. ​ Hello. Welcome to Imagined Performance. My name is IV Castellanos and today I will be reading a performance imagined by Nina Isabelle. This performance starts right now: at 8:17 pm on February 12, 2021 and will end precisely at 8:32 pm. All participants are asked to please defocus their perception using whatever breathing or other techniques they find useful. Be with your laptops but not of them. Hold your phones loosely or not at all. Connect through disconnecting. Believe that you know what this means. I will continue speaking during your process. Please know that it is not necessary for you to understand what I am saying. I am moving my mouth. I am vibrating my vocal cords in a certain way that I have found useful. There are many sounds happening where I am. I can hear traffic. A radiator is hissing. Sometimes people's boots are stomping up and down staircases. The walls here are thin. The sound of passersby breathing and conversing and slogging through cold, ice, and snow. While I continue to speak, please list the sounds you notice in your environment. Speak these sounds out loud to yourself where you are now. In this way, we can be together through our differences. You may whisper, yell, or use any variety of tone or volume you choose. As a disclaimer, please know that I will be recording you through an invisible and unreal mechanism. In order to indicate that you agree, please either respond or remain unresponsive. Please continue to focus on the sounds of your environment and continue to speak them out loud. I will now begin to describe the performance I am sitting here at Parallel Performance Space in Brooklyn, NY. I am speaking into the camera on my computer. Here in the space with me, are sixteen audience members. They are each wearing a new mask prototype made of woven atmospheric particles interlaced through a selective ionic process that traps virus particles using infra-aural radio webs emitted by the human ear. This new technology makes it possible for us to once again be together in small spaces, to hug one another, and sit next to each other with our knees and elbows periodically touching by accident as we move. Everyone here is silently focused on the performance, blinking and slowly shifting their posture. They are listening to the space and my voice. Their phones have all been silenced. Now they are watching me light a candle. Some of them are nervous because the flame of the candle is reaching all the way up to the ceiling. There is a thin ribbon of fire with a black smoke tip that is drawing something out on the ceiling with a line of soot. Some of the audience members are acting as if they are not surprised or nervous. They're keeping their faces very still and devoid of expression. Some of them are trying to photograph the tall ribbon of flame with their phones. One person makes a short video for their Instagram story. Some others are looking back and forth at one another, wondering what will happen and waiting. The symbol drawn on the ceiling by flame is so far unrecognizable. It might be a slanted reflected cursive letter Q, an off kilter house, or the runic shape of Perthro reversed. No one can tell. For a while, people watch and wonder. Time passes. A thick hemp rope unfurls down from the ceiling and drops down to the floor with a heavy thud. At this point, a person comes into the space from the street through the front door, a latecomer. They're trying to be small, silent and unnoticed out of politeness for the performance. Right now, as I'm speaking, this person is sitting down in the corner trying to appear quickly as if they are being observant and contemplative and they're pretending not to notice this reference to them. They want to appear as if they know what is happening. They are also wearing the new mask prototype. I want them to feel comfortable. Now I will play back for you the sounds I have been recording of you speaking at home. Please listen closely: ​ SPEAKING SOUNDS Nina Isabelle 00:00 / 04:52 While this loud sound is playing, I place a large transparent vat of diesel fuel in the center of the space. It is a beautiful transparent pink fluid. People are stunned at its beauty. How can such a toxic substance be so beautiful? Everyone wonders. The ribbon of flame is still tickling the ceiling. I use my hand to bend it down toward the vat of diesel. The black tip of smoke connects with the surface of the fluid. Some people seem nervous because diesel fuel is flammable, however not combustible. Many people are not aware of this distinction. The ribbon of flame slowly dips into the vat and begins to grow in size. People are squeezing their faces in fear and inhaling through their clenched teeth. Some are starting to shield their faces and ears with their hands. No one heads for the door. The intensity of the fire ribbon grows and grows until finally a figure emerges from the pink flaming liquid. It's a full size human wearing a green robe. The robed diesel person floats toward the radiator and, crouching down, they begin to turn the knob, opening the radiator further and further and further. A glowing purple ring of light grows with each turn. Once the purple ring of light reaches six feet in diameter, I blow out the candle. I walk into the purple ring of light, stand dramatically frozen for a moment, turn, and reach for the person closest to me to join me and they do. The person is wearing a thick wool plaid skits and has a large pile of blond curls stacked up on top of their head. They have a felt cloak with a large golden leaf broach pinned to their lapel. Underneath this, they're wearing a neoprene shirt - a rash guard like surfer's wear with a giant plastic zipper. Together we enter the portal and vanish. The green robed figure takes out a bucket of grey paint and a paint brush and, crouching down slowly, they begin to paint the plywood floor. They are groaning and wailing and complaining loudly about the floor, about how many times they have had to do this in the past and how each time, it never seems to matter. Someone always spills taffy or blood or resin and it always needs to be scraped up or sanded or covered over. They continue to paint the floor and cry. This lasts for over twenty minutes. Their tears sizzle as they drip and mix with the grey paint. Tiny smolders of atomized paint-tears begin to float throughout the room with a small being encapsulated in each floating speck. They all cry out and their own tiny tears begin to rain down on the performance attendees. The diesel fumes mix with the tear droplets and the people begin to feel light headed and nauseous. Some people try to escape but the door is jammed shut. Everyone wants to go home, but they can't. They're stuck. Please, now, if you will, shift your awareness from the sounds in your atmosphere to the physical objects in your environment. Please speak the names of the objects you see around you. Say these things out loud. Say the colors of the objects. Be as descriptive as possible. Say the size of the objects. Describe their textures and whatever other particulars you notice or feel. For example, you might say: Beige Chenille sofa. Small cigarette stains. 5 x 8 deep red wool handmade Turkish Bokhara rug. Regular sized half eaten bowl of cereal. Crystal chandelier missing three light bulbs. Green plastic 2.5 gallon bucket with mop water. four square inches of peeling orange paint. Tiny chocolate fingerprints on thick mauve polyester drapes. Again- you are being recorded and you agree to this. I will now play the real-time recording of your collective voices. SPEAKING OBJECTS Nina Isabelle 00:00 / 02:24 While you continue speaking and listening to yourselves speaking together, please simultaneously turn one-third of your awareness back to the performance at hand. We are here at Parallel Performance Space. The performance attendees are uncomfortable and scared. A glowing spot begins to reveal itself on the ceiling between the cryptic soot symbol and the hemp rope. Several non-human entities start to slip through the glowing spot and descend into the space by sliding down the hemp rope. The beings are translucent, faceless, and silent. They emit an overwhelming feeling of love, safety, hope, transformation, and understanding. The odors of diesel fumes, soot, mop water and paint fumes dissolve and are replaced by the smells of lilac, hyacinth, roses, warm potato leek soup with chives, and chamomile tea. Warm local raw organic creamed honey bubbles up from the floor and everyone covers themselves in it. It's amazing. The performance attendees are now bursting into tears of joy and relief. They now know in their bones that everything is perfect everywhere in the world and for the first time in a long while, they feel hopeful. The glowing beings begin to hand out the most amazing cupcakes. Everyone is happy and hugging and eating cake together. Here is what it the space sounds like now: ​ IMAGINED PERFORMANCE FINALE Nina Isabelle 00:00 / 03:24 In the mean time, The radiator begins to hum and the sound begins to grow into the harmonic sound of a thousand electronic angels breathing in unison and every pipe organ on earth begins to sing together. Bells are ringing in the clouds and the purple portal returns with a beautiful hum. I step out of it along with the performance attendee who joined me, and the floating green robed figure. We hold each other's hands and take a big dramatic bow. This is the end of the performance. People clap and clap and whoop, hollar, and whistle. Everyone is so happy. No one wants to leave. People want to debrief. What just happened? How can we explain this? One person says they saw their ancestors. Another person miraculously figured out why their car wouldn't start. One person's psoriasis vanished completely. Another realized how much their mother loved them. Yet another discovered the whereabouts of their lost passport. A few realized it was time for a career change. Now, people are outside smoking and mingling on the sidewalk. All the lights are extra sparkly, everything looks clear and bright. The air is crisp and clean like it hasn't been in years. Some people are starting to head home. People are walking arm in arm and gazing in each other's eyes. We start to clean up the space and get ready for bed. It was a good night. A performance like no other.

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... SALIENT MEMORY MANIPULATING PENDANT LAMP FEBRUARY 2017 Using neon plexiglas, colored lights, and fabric, the Salient Memory Manipulating Pendant Lamp alters the psychic terrain of interior design, creating, building upon, and forcing suggested memory implants of a "magical childhood," and "parental idolization." SALIENT MEMORY MANIPULATING PENDANT Hanging Light Sculpture: Using neon plexiglas, colored lights, and fabric, the Salient Memory Manipulating Pendant Lamp alters the psychic terrain of interior design, creating, building upon, and forcing suggested memory implants of a "magical childhood," and "parental idolization." SALIENT MEMORY MANIPULATING PENDANT Hanging Light Sculpture: Using neon plexiglas, colored lights, and fabric, the Salient Memory Manipulating Pendant Lamp alters the psychic terrain of interior design, creating, building upon, and forcing suggested memory implants of a "magical childhood," and "parental idolization." SALIENT MEMORY MANIPULATING PENDANT Hanging Light Sculpture: Using neon plexiglas, colored lights, and fabric, the Salient Memory Manipulating Pendant Lamp alters the psychic terrain of interior design, creating, building upon, and forcing suggested memory implants of a "magical childhood," and "parental idolization." SALIENT MEMORY MANIPULATING PENDANT Hanging Light Sculpture: Using neon plexiglas, colored lights, and fabric, the Salient Memory Manipulating Pendant Lamp alters the psychic terrain of interior design, creating, building upon, and forcing suggested memory implants of a "magical childhood," and "parental idolization." SALIENT MEMORY MANIPULATING PENDANT Hanging Light Sculpture: Using neon plexiglas, colored lights, and fabric, the Salient Memory Manipulating Pendant Lamp alters the psychic terrain of interior design, creating, building upon, and forcing suggested memory implants of a "magical childhood," and "parental idolization." SALIENT MEMORY MANIPULATING PENDANT Hanging Light Sculpture: Using neon plexiglas, colored lights, and fabric, the Salient Memory Manipulating Pendant Lamp alters the psychic terrain of interior design, creating, building upon, and forcing suggested memory implants of a "magical childhood," and "parental idolization."

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... FAMILY SOUNDS THE UNGOVERNABLE ZONE ​ FORT TILDEN ​ ANARKO ART LAB AND ARTI NYC ​ Nina A. Isabelle / The Ungovernable Zone at Fort Tilden Beach / NYC Fort Tilden is a defunct United States Military base now listed as NYC accessible ruins along the coast in Queens. ​ As an inquiry into motherhood, "Family Sounds" involved a site-responsive approach to the superimposition of an internal childhood landscape onto the defunct Ft. Tilden military base along with self-reflexive research referencing quantum nonlocality, interpretive movement, and the manipulation of physical material to align intention with action as evolved ritual. To start, I visited my childhood home in central Pennsylvania and collected audio samples like gunshots, piano, flute, and conversation. I also collected materials from an old family barn such as safety nets, camouflage burlap, industrial Velcro, and vinyl pieces. I used these materials to construct a giant robe and from the audio samples I melded a cacophonic multilayered soundscape as a way to create a tethered telepathic multigenerational connection. During the performance I blinded myself under the giant robe and bent my psyche into the constructed auditory and kinesthetic dimensions where I psychically postscribed childhood memories as a way to explore motherhood. One challenge of working this way is that documentation and integration of unlanguageable data uncovered along the way becomes difficult as perceptions expand beyond the framework of linear languages. ​ PHOTOS BY JAIME ROSENFELD JULY 8, 2017

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... MOSS ROCK CAGE April 2020 Moss covered rock welded into hand-bent steel cage sold for a fundraising effort for HiLo Art in Catskill, NY during the pandemic.

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... PAINTINGS 2017 1-2017 - 43.50 x 62.25 Acrylic on Canvas 43.50 x 62.25 2017 2-2017 43.50 x 62.25 Acrylic on Canvas 43.50 x 62.25 2017 3-2017 - 43.50 x 62.25 Acrylic on Canvas 43.50 x 62.25 2017 Paintings in the studio Paintings in the studio In January 2017 I began an investigation of addition and subtraction in relationship to concepts of minimalism and maximalism which looked at birth and death. I built and stretched three 44" x 63" canvases and then used a four-inch wide brush to drag six colors sequentially across the surface of the canvas. With the birth of each additional color came the death of a portion or the previous colors, shapes, and spaces. At the time, I was reading about the seventeenth-century deathbed performances outlined in books intended to teach people how to "Pass away in a dignified and Christian fashion," a pre-death technique presented in several mid fifteenth century books referencing The Ars moriendi, ("The Art of Dying") a practice intended to perfect the performance of dying, or- as I was thinking of it in this case, the subtraction of life. Do foundational systems of math stem from our perception of life and death, where birth is addition and death subtraction?

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... STAGES CLARA DIAMOND, NINA A. ISABELLE, & VALERIE SHARP GREEN KILL, KINGSTON, NY APRIL 15, 2017

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... REMARKABLE NEW LOCATIONS Nye Ffarrabas & Nina Isabelle CX Silver Gallery, May- June 2019 Remarkable New Locations is a series of interactive art objects inspired by Nye Ffarrabas's poetry and produced by Nina Isabelle using a car as a printing press. The objects are interactive as they invite the viewer to engage in marking and remaking the dry erase surface as a way to facilitate perceptions of process, language, and action. The printing process involved inking each plate individually and pressing it into each sheet by driving a car over it to emboss the plate image into the saturated paper. Each piece was rolled over ten times with a car revealing various degrees of chance in the imagery. The original monoprint plate was produced using hand-etched plexiglass. Using black printmaking ink on 100% cotton 22x30 Arches 88 printmaking paper, the prints were individually processed, then hand painted using ink, gouache, and acrylic paint to highlight and color code the vowels using purple As, yellow Es, orange Is, blue Os, and green Us. The final layer is a hand cut transparent material affixed to the image surface machine stitched with orange thread. Nye Ffarrabas (formerly Bici Forbes and Bici Hendricks) has been an artist for 60 years and a poet for 80. She participated in Happenings beginning in 1961, as part of the Fluxus scene. In 1962 she interviewed several artists including Roy Lichtenstein, Bob Watts and Ivan Karp. In 1965, she established her own publishing company, the Black Thumb Press. Nye/Bici had her first solo show at Judson Gallery in 1966 and the next year performed Ordeals with Carolee Schneemann. In the 60s and 70s, Nye/Bici participated in many of the Annual Avant Garde Festival of New York events coordinated by Charlotte Moorman. Starting in 1964, Nye/Bici compiled journals as conceptual art with Geoff Hendricks, a series known as The Friday Book of White Noise which contains many seeds for her event scores. In 2019 Nye completed a mobius-strip-shaped infinite event score as a performance, installation and wall-piece.