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... ACTIVATING PERCEPTION - NINA A. ISABELLE MIDTOWN ARTS DISTRICT by Debra Bresnan May 10, 2017 https://madkingston.org/2017/05/09/nina-a-isabelle/ When did you first know you were an artist? Growing up people referred to me as an artist and so I became one – an experience that made me aware of the power of language, perception, belief, and social programming, all themes in my current work. It’s possible that if I had grown up in a different environment I might have been an engineer because as an artist I’m always working with how things like concepts of memory and phenomena articulate with visual and spatial perception, language, materials, and meaning and how to build generative dialogue between these factors. Where an engineer might work with materials, data, or electricity, as an artist I use a similar approach but with different variables. Favorite medium(s) you use to make art? My favorite art medium is probably the phenomena of perception and how language builds reality. Right now my focus is on working to manipulate and bend notions surrounding the value and usefulness of art away from commodity and towards structures that represent essential and social value. Inside of this, working with painting I can still have an intention to study gesture, motion, and look for new languages that might emerge from this action and mark making or find new information in whatever emerges. I like to get my hands on chunks of materials like vats of clay, lumber, bolts of fabric, or discarded machine parts and sort of grapple with the stuff until it gives in to another form. Sometimes I might start out with an intention or give myself an assignment, but other times I let myself generate information by engaging with materials and paying close attention as I go. Since I work pretty equally with photography, video, design, performance, installation, and painting, nothing is really off limits to me. I grew up at a summer camp for kids where we had an arts and crafts department with a ceramics studio, photo lab, leather tools, batik, enamels, silk screens, and fabric dye, among others. Nine months out of the year these departments were vacant and I really made the best of it – I learned to use the kiln and glazes by haphazardly blowing up and melting a lot of stuff, mixing chemistry by taste, a lot of other experimental and dangerous learning-by-doing that has carried over to my current approach. I never read instructions as a younger person because I couldn’t really read until I went to college. I’m rarely intimidated by new things, and I think that’s one of my favorite things about my development and approach. What are the most interesting new trends in your field? Is your work changing as a result? One of the most exciting things I notice right now is a shift toward recognizing the social value of art as a tool to reframe reality through community building, open sourcing ideas and data, and through things like artist collectives and working together with other artists and community members. In the art world, there are always these superficial fads like geometric shapes or graffiti, or some new trendy material, or something everyone is doing like such-and-such, but my work doesn’t usually wind up aligning itself with those sorts of cultural flows. I don’t usually find myself in trendy circles — something that has made it difficult to find a community but also has led me to the point where I am now. I recognize that, all along, my running mission has been to challenge outmoded institutional and economic systems that have grown regulated and insular and to work to build systems to replace these. Artists are always pressing hard against hierarchal structures like gender, race, and social class: It seems like the discord generated by our new political administration is influencing a lot of art thinking these days. Talk about your creative process – where/when do you get most of your ideas and how do you know a piece is ‘finished’? My creative process is rooted pretty firmly in letting myself respond instinctively. One thing I often find myself doing is trying to destroy rosy notions that abound around creativity being “beautiful.” Being a person who has given birth to babies I recognize the mess, blood, and pain that goes along with creativity. I have a lot of ideas and mostly I choose to go with the ones that make me laugh about myself or our collective idiocy. I also like to work with themes that irk me such as fake systems of legitimization we use to determine success, such as university degrees, financial values and the gender and power imbalances that seem to perpetually skew the art world. Making art objects like paintings and sculptures, and grappling with material and concepts together, I’ve questioned the point of it beyond decoration or commodity and have come to understand my process as a personal tool that lets me understand reality in a way that I can integrate. Working with materials and visual information puts me in touch with deeper threads of meaning, and nuances of life that fortify the tapestry. I’m drawn toward this way of working and thinking because there seems to be something I can’t quite say in writing or speaking, something linear language can’t quite get at. I don’t know what it is yet and that’s what keeps me engaged. As far as recognizing when something is finished, I think it’s just a matter of paying attention to a subtle feeling of “doneness,” or arriving at a comfortable stopping point or a feeling of resolve – like I’ve figured something out or said what I meant to say. Sometimes a stopping point might never come because maybe I’ve gone down on a dead-end path. I have a lot of projects in limbo because they’ve become overwhelming or I’ve lost interest, things I can always get back to at any point. And, in a quantum way, things can never be finished because time isn’t linear and there’s no such thing as an end point. Do you also teach or are you strictly a creative artist? Who was your most influential mentor and why? How do you see the role of being a mentor? and why? In the past, I’ve taught art classes like photography, modern dance, and painting or movement workshops. There is always a technical entry point where students spend time learning about say, the camera machine, visual mechanics, basic movement patterns, or just becoming familiar with materials, and this can be a fun and engaging way for people to come together. But I always want to move further into dialogue about how the usefulness of these art tools and practices can be more than a fun pastime or therapeutic hobby. Art offers invaluable ways to shift perception and find new vantage points. As an artist, I collaborate with others in several capacities that seem more like mutual mentorship, where we share and build upon each other’s momentum and concepts. I’m not sure that I’ve ever fit the part of strictly a mentor to another, but I do recognize people who’ve inspired me. I had a couple high school teachers who helped me to evade attendance, something that in a typical case might not sound helpful, but I really recognize and value people who have taken risks in order to do the right thing morally. School is not a good place for all children. I can’t say that I’ve ever had a strong relationship with an individual mentor, but something that intrigued me early on was finding and building obscure relationships between seemingly unrelated artists and their work. I remember wondering about Käthe Kollwitz’s Woman With Dead Child in relationship to Henry Moore’s sculptures and sheep sketchbook, and Jim Dine’s Robes. Somehow the similar volume expressed in these works was curious to me, possibly as a subconscious desire to connect the physical form of my body to their work because I’ve always been athletic. I was also intrigued by industrial design and how humans interact with tools and objects, especially mid-century chairs like the Eames Lounger and Bertoia’s designs as a framework for simultaneously supporting physical and thought forms together. So in a way, I’ve let this sense of wonder guide me. What are you working on now? For the past year, I’ve been working on a project called The Superfund Re-Visioning Project . It’s an experimental framework that aims to transform contaminated industrial sites recognized by The United States Government as Superfund Sites. In New York State there are 117 of these sites. I’m developing a project that aims to create a platform for artists and community members who might otherwise be marginalized by political and financial systems that typically deal with these sorts of remediation. I’m also involved with an artist collective developed by IV Castellanos called The Feminist Art Group (F.A.G.) from Brooklyn, and plan to invite them to Kingston this summer for one of The Shirt Factory Open Studio events. Currently, I have a show at the new HiLo gallery space in Catskill and like to participate in local shows at The Old Glenford Church Studio . I think it’s great when things like The UNITY show curated by Sarah Carlson and Lisa Barnard Kelley between the artists at The Shirt Factory and The Lace Mill come together to fortify community connectedness. Upcoming, I have work being featured by The Unstitute in Catalunya, Spain and plan to do something fun at Paul McMahon’s Mothership Gallery this fall. Recently my focus is moving into sound and auditory perception. I’ve become interested in digitally degraded sound snippets and obscuring auditory input to the point of noise in a way to find out what’s behind and within the experience of sound. For more information about my work and listings of recent/current exhibitions, projects and collaborations, please visit www.ninaisabelle.com/cv . How has being in Kingston enhanced/inspired your work? What do you like best about living in Kingston/being involved with MAD? How long have you been here? Kingston has a lot to offer artists and community members and is building momentum as an arts-branded district. Recently we’ve seen several exciting places pop up like David Schell’s Green Kill , Rilley Johndonnell’s Optimism concept, Broadway Arts , The Art/Life Institute on Abeel Street , and Kingston High School Art teacher Lara Giordano, who is exhibiting student work at PUGG on Broadway. The surrounding landscape is diverse and inspiring conceptually because of the Hudson River waterways, The Catskill Mountains, The Ashokan Reservoir, and the surrounding forests, hiking, and rail trails. The Mid-Hudson Library system is phenomenal, and it’s easy to travel back and forth to New York City from Kingston. It’s great to have artist studio spaces like The Shirt Factory and The Lace Mill which offer affordable living spaces for artists, and especially new organizations like MAD that are forming to support this new movement.

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 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.

The Video Manifestation System offers a way to build and shape reality by guiding users through a process designed to align intention with action resulting in a five minute video including individualy prescribed viewing directives. 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

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... 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."

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.”

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... BANGKOK UNDERGROUND CINEMA The Bangkok Underground Film Festival 2017 program consists of a series of events across multiple venues in Bangkok. Co-organised by Speedy Grandma , emesis , Bridge Art Space & Jam Caf é , with support from VS Service , Projectionist Asia , Panda Records and Museum Siam . MARCH 5-12, 2017

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... THE SHIRT FACTORY CENTENNIAL KINGSTON, NY September 16, 2017, 2018 For The Shirt Factory Centennial Celebration I tied 100 flags together and looped them through the building.

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HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... CLICK HERE TO SUBSCRIBE TO NINA A. ISABELLE'S QUARTERLY EMAIL TO CONTACT NINA A. ISABELLE USE THE MESSAGE FORM BELOW: Email sent to Nina A. Isabelle Send

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

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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.