HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... ARTIST & LOCATION CZONG INSTITUTE FOR CONTEMPORARY ART GIMPO, KOREA October 2016 CICA MUSEUM

Things can be objects or subjects. While objects are tangible things abstracted from the particularness of subjects, subjects are the intangible concepts or notions we extract from objects. How do we process the intangible sense data we extract from encountering objects made of particles in the phys 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.

Solvermath in an interactive experience that allows the human body to identify tones in potential relationship to physical objects. The experience involves either viewing a virtual object or holding a physical object while interacting with a tone generator tool capable of producing up to 20kHz. HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... SOLVERMATH A conceptual math model tha t proves the improbability of knowing what you’re doing Click HERE to access the Sense-Object Intake Form. Wooden Block with Wire Object 1 Rubber Ball Object 2 Steel Wool Object 3 Brick Object 4 Bolt Object 5 Axe Head Object 6 Soup Can Object 7 Light Bulb Object 8 Bees Wax Object 9 Polyfill in Plastic Object 10 Superfund Site Specimen Object 11 Purple Glass Object 12 Pear Wood Object 13 Field Crystal Object 14 Sheet Steel 5.5"x7"x.25" Object 15 Pressure Treated Spindle Cut-off Object 16 Leather-bound Cowboy Book Object 17 Sea Rock Object 18 Interactive Frequency-Generator Tool To use: Click green arrow & drag finger across bar to produce tones. Click red X to stop LINK TO SENSE-OBJECT INTAKE FORM Solvermath in an interactive experience that allows the human body to identify tones in potential relationship to physical objects. The experience involves either viewing a virtual object or holding a physical object while interacting with a frequency-generator tool* capable of producing up to 20kHz. The human body is a sophisticated and responsive module capable of intermediating, detecting, and deciphering variables outside the realm of its awareness. Solvermath uses relational math to reveal an absence of relation between sense-informed response and sense of knowing. The project is inspired by Gödel's theorems concerning the limits of provability which say that “it is impossible to give a meta-mathematical proof of the consistency of a system comprehensive enough to contain the whole of arithmetic unless the proof itself implies rules of inference different in certain essential respects from the transformation rules used for deriving theorems within the system” and that “any other system within which arithmetic can be developed, is essentially incomplete because there are true number-theoretical statements that cannot be derived in the system.” The initial phase of Solvermath collects data from individual human interactions with the frequency-generator tool and the sense-objects. The second phase uses a redesigned version of relational math to form a conceptual math model that describes the space between awareness and action, and aims to highlight the improbability of knowing what we're doing. To participate, open the Google form through this link in either a separate window, on a separate screen, or other device. Keep this page open so that you can use the frequency-generator tool above. In the form on the second screen or device, you will see images of each sense-object. Using the interactive frequency-generator tool on this page, find the Hz frequency (or range of frequencies) that you sense correspond to the visual image (for remote participants) or the physical object you are holding in your hand (for those participating physically.) Enter the numbers into the form field associated with each image. To use the interactive frequency-generator tool, slide the finger back and forth on the bar from 1Hz - 20,000Hz. Click the green arrow to sense & hear the sound. Click the red X to stop the frequency. You'll notice the Hz number changing as the finger slides back and forth. You may also enter any number between the two arrows to experience a frequency between 1 Hz and 20 kHz. The frequency-generator tool produces tones that travel through the air as waves that the human body can detect through somatic listening. The experience is not designed to be used with head phones or earbuds. If you are participating remotely, view each image while interacting with the tone-generator tool and choose the tone (or range of tones) you feel represent the object in the image. Enter the Hz number(s) you identify with each object into the form with the corresponding image. For those who have access to the physical objects, hold the object in one hand while sliding a finger back and forth on the frequency-generator tool. You may detect a vibrating sensation in the hand-held object in response to certain frequencies or within a range of frequencies. Enter the numbers of the frequencies you notice into the form. Please enter your real or fake name, the real date, and indicate either "Remote" or "Physical" for each entry. After you submit the form, you will see the message "Thank you for participating with Solvermath! Your response has been recorded." This means your submission has been accepted and recorded. You may participate as many times as you like. Email questions or comments to Nina Isabelle at isaben@rpi.edu or to schedule physical access to sense-object set. *frequency generator designed by Tomasz P. Szynalski / modified by Brian McCorkle

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.

Photographs of piles by Nina Isabelle. 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... MUSCULAR BONDING-PHOTO DOCUMENTS Adriana Disman, Nina Isabelle, Kaia Gilje, Beth Neff, Esther Neff, Edward Sharp M.A.R.S.H, St. Louis / Living Arts, Tulsa, OK February 15 - March 5, 2018 We traveled, lived, worked, and performed together for three weeks as a performance experiment conceived, initiated, and enforced by Esther Neff. On February 15, 2018 we drove from Panoply Performance Lab in Brooklyn, NY to M.A.R.S.H (Materializing & Activating Radical Social Habitus) in St. Louis, MO. We lived, worked, and ate together under strict and extreme circumstances, and then performed actions that were devised through collective manipulation to "materialize participant's structural realities" at The New Genre Art Festival at Living Arts Tulsa. Kaia Gilje & Adriana Disman carry a sheet of dry wall up a staircase at M.A.R.S.H. (Materializing & Activating Radical Social Habitus) in St. Louis, MO. Photo: Nina Isabelle

Inspired by Dion Fortune's Psychic Self-Defense: The Classic Instruction Manual for Protecting Yourself Against Paranormal Attack published in 1930, I carved a 15' wooden stake from a white pine tree removed from my property and designed a welded steel foundation to support and direct its potential in a specific way. HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... PSYCHIC SELF DEFENSE GIANT WOODEN STAKE FOR DESTROYING PSYCHIC VAMPIRES Inspired by Dion Fortune's Psychic Self-Defense: The Classic Instruction Manual for Protecting Yourself Against Paranormal Attack published in 1930, I carved an 11' wooden stake from a white pine tree removed from my property and designed a welded steel foundation to support and direct its potential in a specific way. There was a nearly dead forty-five foot tall white pine tree on my property that I needed to remove because it was next to a home with a newborn. I was overwhelmed by its potential for destruction as well as the terror at having to take responsibility. I feared it might smash a building or kill someone but I felt frozen to take action. Normally, I figure out a way to do things myself, but in this case I knew I had no ability to take down such a tree and I was having trouble finding a tree service who was able to schedule the job during the pandemic. I was also paralyzed by the thought of the expense. I wanted to run away, but knew I had to transform my fear and helplessness. I had the idea to approach the problem as an art project as a way to reconnect with my boldness and to remember the feeling of embodying initiative. Once I realized that I could apply methods from my art practice to this life circumstance, art became my teacher, and I began to hear the tree speaking to me saying "Look at me, I'm a giant wooden stake and I want to help you!" At the same time, I was rereading Dion Fortune's book Psychic Self-Defense: The Classic Instruction Manual for Protecting Yourself Against Paranormal Attack published in 1930 where she discusses the literal manifestation of vampiric energies and vampires themselves as people, circumstances, experiences, and entities that deplete us for their own gain. I had read the book as a young person and was now surprised to realize how her description of this system had maintained its relevance and how it paralleled the language of healthy boundaries as discussed in contemporary psychology. Vampiric energies accumulate through life experiences and interactions with other people and entities who intentionally or not connect their psyche to us. Unhealthy past relationships, traumas, and global events like the pandemic have the potential to develop longterm harmful effects on our beings and we need to develop tools to combat this dynamic. Thinking and working this way is one way art processes can help us. I designed, built, and activated the tree into a large healing tool sculpture that can neutralize the effects of psychic vampirism and other unhealthy energetic connections that impact our wellbeing. To start, I stripped the bark off of an eleven-foot length of the white pine and my son helped me with his chainsaw to carve one end into a sharp point. The base is a prism made of two welded steel equilateral triangle structures that elevate and position the point of the sculpture directly at heart level maximizing its power to blast away the psychic and etheric connections one inadvertently accumulates throughout life. The sculpture is a giant cleansing machine. It targets etheric and energetic fields and tethers that become attached to ones outer bodies over time. It's meant to cleanse the outer bodies by obliterating unhealthy energies and connections, prohibit vampiric energies from sinking their fangs into the many dimensions of our psychic, physical, mental and emotional spheres, and to destroy the parasitic relationship dynamic vampires establish and maintain with our physical host bodies against our will and awareness. The sculpture is interactive. People were invited to stand in front of it, connect with its design, and have their own healing experience. MAY 1 - 29, 2021 ART/LIFE INSTITUTE 185 ABEEL ST. KINGSTON, NY OPENING MAY 1st 6:PM - 9:PM MID-MONTH RECEPTION - MAY 15th 6:PM - 9:PM CLOSING EVENT MAY 29th - 6:PM - 6:PM

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... ILLUMINATING INTANGIBLES Performance by Nina Isabelle & Amelia Iaia at Para\\el Performance Space in Brooklyn, NY on March 23, 2019 English fails at describing the location of abstractions in relation to the human body. Identifying such things is challenging and understanding our proximities to both physical and abstract structures or concepts is a murky smudge in our perceptive fields and abilities. Recognizing how perceptions transition from one "place" to another requires a deep inquiry into the question of how we arrive at sensing or knowing. Prepositions are words that describe the location of things in relation to other things. The English language has more than a million words to describe subjects and objects yet only 150 prepositions. Prepositions are useful for describing the location of physical objects yet fail when put up against or in combination with abstract subjects. Amelia and I generated a random list of prepositions paired with abstract nouns and verbs and came up with one-hundred-and-fifty phrases that we used to produce an audio arrangement. We constructed interactive objects of materials consisting of various textures, densities, and transparency for our performance. We came up with a set of gestures that we felt illustrated the concept as a way to illuminate the intangibleness of our language and perception situation.

Nina A. Isabelle is a multidisciplinary artist working with abstract painting, performance art, video, photography, sound, and sculpture. 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?

Iqtest Melissa Lockwood and Nina A. Isabelle build the world's largest cotton double-pocketed patchwork dresses out of fabric castoffs in four hours flat. HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... THE GIANT DRESS IQ TEST MELISSA LOCKWOOD & NINA ISABELLE The Giant Dress is the world's largest handmade all-cotton patchwork double-pocketed sleeveless up-cycled floral summer dress constructed in under four hours flat. KINGSTON, NY / MAY 2017 IQ Test Melissa Lockwood Firing tiny ceramic vessels in a fire at Rosekill with The Giant Dress. The Giant Dress The Giant Dress hanging on The South Barn at Rosekill Performance Art Farm in Rosendale, NY The Giant Dress Sewing The Giant Dress at The Shirt Factory Studio in Kingston, NY The Giant Dress Nina Isabelle with The Giant Dress at The Shirt Factory Studio in Kingston, NY

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

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... UMEWE HAPPY SPOT 2016 NAI_1988 http://www.intoyellow.com/ P&T Surplus Timothy J. Smythe at P&T Surplus in Kingston, NY. http://www.intoyellow.com/ Alexus, April, Qunisha Block Park in Kingston, NY http://www.intoyellow.com/ Ines & Domingo Santos Just For You Oaxacan Restaurant in Kingston, NY http://www.intoyellow.com/ Kuda & Quan First Capital Barber in Kingston, NY http://www.intoyellow.com/ Ever & Aaron At Rezny Photography Studio in Kingston, NY http://www.intoyellow.com/ Brian Buboltz American Legion Post 150 in Kingston, NY http://www.intoyellow.com/ Rosa The Happy Apple Thrift Shop in Kingston, NY http://www.intoyellow.com/ INT-O Yellow was developed as a collaboration between conceptual artist Riley Johndonnell, Pantone and UMEWE Inc.- an art and design collaborative founded by Whitny Sobala and Riley Johndonnell which supports, promotes and disseminates Optimistic 'tools' and works of public art. www.intoyellow.com As a way to articulate with INT-O Yellow I photographed one of the INT-O Yellow Happy Spots around Mid Town Kingston. Happy Spot visited some classic Kingston locations, integrating the familiar with new faces and places.

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... Aaron Pierce February 2017 A: I am a graduate from Utah Valley University and I am writing a dissertation for the university's biannual Art History Symposium. The topic of discussion this year is Maximalism. I am particularly focusing on performance art as the contemporary medium that is reinventing museum spaces and engaging audiences by stimulating the senses more through music, dance, film, and painting combined. That is where your exhibit Animal Maximalism came to my attention. I am completely intrigued and enthralled by your performance art pieces and projects you have created. For this paper, I would love to have your view on performance art and Maximalism. I am interested in hearing some of your methods about performance art and Maximalism. It is rare in art history to be able to have contact with the artist, hence my excitement. If you do not mind sharing your opinion, I would like to know how you feel performance art engages audiences and pushes them to connect on a higher level to art? Also, why are we seeing a shift towards more performance art pieces in museums and galleries? I feel that audiences want to have a full sensory experience. How does Maximalist performance art achieve this better than other medium of art? N: I practice a process of allowance where I let myself do what I want. This approach results in maximum data and action. By letting myself engage with an array of modalities I can generate multiple outcomes and possibilities. Because I'm not limited to any single mode of involvement, I'm free to use painting, performance, photography, or video or a mixture of modalities as I find necessary depending on my agenda and instinct. This suits my athletic, resourceful, and determined nature. I approach performance art in the same way I would approach any other art modality- by paying close attention to gut instincts and psychic impressions in a process designed to override cerebral programming. The aim is always to align action with intention, and make note of the findings and outcome along the way. Performance art is a good choice when the concept I'm grappling with calls for a human body, action, or a narrative to actuate the outcome, especially literal concepts like worshiping the golden calf or using blood to cleanse things. My body can become a tool, a stand-in, or effigy of or for the viewer, creating a point of commonality to facilitate access. Aligning action with intention is also a way to re-frame ritual and an attempt to validate the effectiveness of approaches historically relegated to realms of religious structures and beliefs. I was recently invited to teach an art theory class for kids at The Hudson Valley Sudbury School. Through our discussions it emerged that the students felt most drawn to art practices and outcomes that suited the nature, mentality, and necessity of the individual artist. For instance they could relate to how Chuck Close became successful at painting faces as a result of his lifelong struggle with a facial recognition disorder. In reflecting on my personal method it occurs to me that my mode of operation is dictated by my nature, I didn't choose to function within the Maximalism approach and philosophy, it's just that the philosophy happens to align with my nature. I'm a serial over-doer of all things who relishes the opportunity to push things too far. My work is reactionary because I'm a reactionary person. For instance the first time I encountered minimalism I was ready to explode in a thousand directions. And, as an art student I couldn't help but challenge typical art professor's slogans such as "You have to know when to stop." Of course I could recognized the academically dictated stopping point but I would never in a million years stop there. I've always felt that learning how to challenge, push, or destroy something is a valid study when handled respectfully and with intention. Performance art is an another mode of operating for artists to use in order to find or generate new information, to experiment with creating new experiences, or to try to express something they otherwise couldn't. It can engage the viewer in an intimate way offering the potential to build powerful experiences as it facilitates a space that can involve and include the viewer in a novel physical or psychic way. It's possible that since performance art inhabits walking space where gallery-goers would otherwise be moving about, a psychic connection is created by sharing the same space. As viewers, we know less about what it would be like to hang motionless on a wall. Performance art offers a platform for artists to practice aligning action with intention, a way to possibly re-frame ritual and to build experimental new models for of control or power to replace outmoded religious structures and beliefs. But also, It's possible the performance art trend might be a way for artists to backhandedly confront consumerism and elitism simultaneously, or at least to create the illusion of doing so. Commercial galleries and academic environments can be market driven or exclusive, but performance art has the ability to dissolve those traditional notions and to expand viewership by engaging broader mentalities in a way that would be difficult for strictly visual work focused on heady concepts or dollar amounts. And since we live in a culture of visual bombardment, where viewer's digitally conditioned eyes and minds are increasingly savvy, and in conjunction with consumer programming, we need something that can function both inside of and outside of commercial gallery and academic paradigms. There is a literal dissolution of boundaries. Since performance art is impervious to ownership and commodification, it pushes against market-driven capitalist structures and challenges a system where finances determine success. Issues of marketability, ownership, or commodity all come into play because its difficult to financially capitalize off of performance art. So, maybe it's like most trends- timely and culturally necessity. I developed the Animal Maximalism exhibition concept as a way to bombard the human sensory input manifold with the intention of revealing cloaked information. I use the word "Animal" as an homage to instinct. For me academia operated through reversal, fueling my defiance more than refining me the way school is supposed to, so part of my mission has always been to build legitimate framework for us animals, one that is less cage-like, and Maximalism is a good framework for that agenda. I try to work within and build upon systems that already exist that might reflect and support my authentic nature, and to allow my work to reflect and be a response to the full spectrum of my body's biologic manifestation of its own history within its cultural environment. Maximalism feels like science-fiction, in that it offers the potential for system building where the inward personal landscape can travel all the way outward through the giant jumbled experience of collective household, community, country, and planetary psychic connections. Maybe performance offers an easier access point to the viewer in that we can all relate to each other as humans who are human shaped and have human form. We all share common ways of moving our human forms through space. It's possible that performance could function to create a portal, like a way out or a way in.

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.

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... JSP PLUMBING COMMISSION NOVEMBER 2016 These are 24x36 digital photo collage prints done for the office space of JSP Plumbing in Kingston, NY. I photographed tools and material from the JSP Plumbing shop and warehouse as well as the surrounding industrial landscape to form the final imagery. JSP 6 JSP 9 JSP11 JSP 2 JSP 8 JSP10 JSP 4 JSP 7 JSP 3

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 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.

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... PROPERTY ROMAN SUSAN & ROGERS PARK / WEST RIDGE HISTORICAL SOCIETY APRIL 1, 2017 TELLERS I The women and girls from St. Henry's First Communion at 6235 N Hoyne Ave predict the future of the Devon Bank at 6445 N Western Avenue. 20x30 NINA A. ISABELLE February 2017 TELLERS II The women and girls from St. Henry's First Communion at 6235 N Hoyne Ave predict the future of the Devon Bank at 6445 N Western Avenue. 20x30 NINA A. ISABELLE February 2017 ALONG THE WAY Streicher and friends have been displaced. Transported by a drunken maritime time traveling expedition, the three men find themselves near the Chicago surface line sign at 2100 W Touhy Avenue. Peter Van Iderstein's boat, launched at at Greenleaf Avenue and Lake Michigan, has been repurposed as a time traveling vessel. NINA A. ISABELLE 20x30 February 2017 Roman Susan Art Foundation and the Rogers Park/West Ridge Historical Society will present a collaborative exhibit in Spring 2017 reflecting the way neighborhoods emerge and change as a result of land development. For this project, the Historical Society has placed 100 images from the Rogers Park/West Ridge photography archive into the creative commons. The exhibition will include repurposed and reimagined responses to the historical photographic archive. View the full selection of images dating from 1870 to 2005 here: https://www.flickr.com/photos/rpwrhs/sets/72157676302462950/ The selection of original images include photographs donated to the Historical Society from the collections of Leonard and Lillian Adler, Katherine Allen (née Dittmar), LeRoy Blommaert, Lillian M. Campbell, Ann Davis Dix, Gail Donovan, Paul and Jean Einsweiler, Fred Elisius, Dorothy Ferguson, Stephen C. Ferguson, Howard Frink, John Peter Geroulis, Ken Gustafson, Elizabeth Habman, Gladys Hoaglund (née Van Iderstein), Maryl Hook, Leslie Keeling (née Pollard), Anthony Kingman, James and Sally Kirkpatrick, Carmen Lara, Rasmus Larson, James C. McCabe, J. Curtis Mitchell, William Morton, Margaret Mary Muno, Marcella Polonsky, Jean R. Price, Sidney and Ann Rockin, Marie Roti (née Bornhofen), Richard Schaul, Grant Schmalgemeier, Marty Schmidt, Toni Sherman (née Albanese), George and Margot Striecher, Mel Thillens, Sr., Ceal Thinnes, Mary Thiry (née Mertens), Albert and Loretta Weimeskirch, Gerald Wester, John Winkin, the American Legion Rogers Park Post #108, Angel Guardian Orphanage, B'nai Zion Synagogue, George Buchanan Armstrong School of International Studies, Cook County Federal Savings & Loan, Devon Bank, Mundelein College (Loyola University Chicago), North Town Public Library, Rogers Park Women's Club, Philip Rogers School, RREEF Management Company, S&C Electric Company, St. Margaret Mary Archives, and Sullivan High School. Tellers I The women and girls from St. Henry's First Communion at 6235 N Hoyne Ave predict the future of The Devon Bank at 6445 N Western Avenue. Tellers II The women and girls from St. Henry's First Communion at 6235 N Hoyne Ave predict the future of The Devon Bank at 6445 N Western Avenue. Along The Way Streicher and friends have been displaced. Transported by a drunken maritime time traveling expedition, the three men find themselves near the Chicago surface line sign at 2100 W Touhy Avenue. Peter Van Iderstein's boat, launched at at Greenleaf Avenue and Lake Michigan, has been repurposed as a time traveling vessel.

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... LOCATIONAL TRAUMA TRANSFORM JUNE 23, 2016 The Locational Trauma Transforming Trap was constructed by Neva & Nina Isabelle as an action to align with the intention of absorbing and transforming physical trauma such as broken bones, head injury, and the visual implant of witnessing blood as well as emotional and physical damage to the bodies and psyches of friends and family. A handwoven trauma trap was constructed using black silk. Coated with gymnastics chalk, The Trauma Trap was used to absorb and transform trauma located at 40.8987° N, 77.3561° W. The contaminated trap was then hand washed in a mountain spring in order do dislodge the traumas from multiple physical geographic and bodily locations. One participant reports that the best tricks she learned in Gymnastics was "how to not feel pain."

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.

My Grandmother designed leather gaskets used to strap prosthetic limbs onto amputees. Being an athlete and bodyworker, this series of paintings is an inquiry into what the body knows of its own shape and where might this knowledge come from. How might my own body describe itself with line and paint? HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... THE BODY DESCRIBES ITSELF An in-progress painting series started August 2020 by Nina Isabelle. My Grandmother designed leather gaskets used to strap prosthetic limbs onto amputees. Being an athlete and bodyworker, this series of paintings is an inquiry into what the body knows of its own shape and where might this knowledge come from. This is a study to learn how my own body might describe itself with line and paint. Oil on canvas sizes range from 36 - 60 inches Inquire here for details and prices

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... PAINTINGS 2016 20-2016 22x30, oil paint on paper 19-2016 22x30, oil paint on paper 18-2016 22x30, oil paint on paper 17-2016 22x30, oil paint on paper 16-2016 22x30, oil paint on paper 15-2016 22x30, oil paint on paper 14-2016 22x30, oil paint on paper 13-2016 22x30, oil paint on paper 12-2016 22x30, oil paint on paper 11-2016 22x30, oil paint on paper 10-2016 22x30, oil paint on paper 9-2016 22x30, oil paint on paper 8-2016 22x30, oil paint on paper 7-2016 22x30, oil paint on paper 6-2016 22x30, oil paint on paper 5-2016 22x30, oil paint on paper 4-2016 22x30, oil paint on paper 3-2016 22x30, oil paint on paper 2-2016 22x30, oil paint on paper 1-2016 22x30, oil paint on paper 1/1

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... NEW SITUATIONS Arranging matter in space is a way to build new situations. June 11, 2018

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

This video documents time travel research conducted at The Panoply Laboratory in Brooklyn, NY on February 4, 2017 and is part of Panoply Laboratory's ongoing re HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... TIME TRAVEL RESEARCH REPORT PANOPLY PERFORMANCE LABORATORY BROOKLYN, NY / FEBRUARY 4, 2017 This video documents time travel research conducted at The Panoply Laboratory in Brooklyn, NY on February 4, 2017 and is part of Panoply Laboratory's ongoing research practice initiated in 2014 titled Embarrassed of the Whole. By distorting temporal local perceptions the practice facilitates quantum nonlocality and manipulates the phenomenon of local realism in order to solve for one variable question: "Affectionately to what affect affectively?" Lab Technicians - Kaia Gilje, Nina A. Isabelle, Brian McCorkle, and Esther Neff Soundscape - Brian McCorkle Participant Subjects - Amelia Iaia, IV Castellanos, Jon Konkol, and Alice Teeple Photography - Amelia Iaia, Alice Teeple, and Nina A. Isabelle Video documentation and editing - Nina A. Isabelle Time Machine Etow at PPL Embarrassed of the Whole Time Travel Research February 4, 2016 Panoply Performance Laboratory Photo: Alice Teeple Time Machine Etow at PPL Embarrassed of the Whole Time Travel Research February 4, 2016 Panoply Performance Laboratory Photo: Alice Teeple Time Machine Etow at PPL Embarrassed of the Whole Time Travel Research February 4, 2016 Panoply Performance Laboratory Time Machine Etow at PPL Embarrassed of the Whole Time Travel Research February 4, 2016 Panoply Performance Laboratory Photo: Amelia Iaia Time Machine Etow at PPL Embarrassed of the Whole Time Travel Research February 4, 2016 Panoply Performance Laboratory Photo: Alice Teeple Time Machine Etow at PPL Embarrassed of the Whole Time Travel Research February 4, 2016 Panoply Performance Laboratory Photo: Amelia Iaia Time Machine Etow at PPL Embarrassed of the Whole Time Travel Research February 4, 2016 Panoply Performance Laboratory Photo: Amelia Iaia Time Machine Etow at PPL Embarrassed of the Whole Time Travel Research February 4, 2016 Panoply Performance Laboratory Photo: Amelia Iaia Time Machine Etow at PPL Embarrassed of the Whole Time Travel Research February 4, 2016 Panoply Performance Laboratory Photo: Amelia Iaia Time Machine Etow at PPL Embarrassed of the Whole Time Travel Research February 4, 2016 Panoply Performance Laboratory Photo: Amelia Iaia Time Machine Etow at PPL Embarrassed of the Whole Time Travel Research February 4, 2016 Panoply Performance Laboratory Photo: Amelia Iaia Time Machine Etow at PPL Embarrassed of the Whole Time Travel Research February 4, 2016 Panoply Performance Laboratory Photo: Amelia Iaia Time Machine Etow at PPL Embarrassed of the Whole Time Travel Research February 4, 2016 Panoply Performance Laboratory Photo: Amelia Iaia Time Machine Etow at PPL Embarrassed of the Whole Time Travel Research February 4, 2016 Panoply Performance Laboratory Photo: Amelia Iaia Time Machine Etow at PPL Embarrassed of the Whole Time Travel Research February 4, 2016 Panoply Performance Laboratory Photo: Amelia Iaia

Interviews & writing HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... INTERVIEWS LINDA MARY MONTANO INTERVIEW 2020 ACTIVATING PERCEPTION Midtown Arts District 2017 ARTiculACTion 2016 Aaron Pierce February 2017 A: I am a graduate from Utah Valley University and I am writing a dissertation for the university's biannual Art History Symposium. The topic of discussion this year is Maximalism. I am particularly focusing on performance art as the contemporary medium that is reinventing museum spaces and engaging audiences by stimulating the senses more through music, dance, film, and painting combined. That is where your exhibit Animal Maximalism came to my attention. I am completely intrigued and enthralled by your performance art pieces and projects you have created. For this paper, I would love to have your view on performance art and Maximalism. I am interested in hearing some of your methods about performance art and Maximalism. It is rare in art history to be able to have contact with the artist, hence my excitement. If you do not mind sharing your opinion, I would like to know how you feel performance art engages audiences and pushes them to connect on a higher level to art? Also, why are we seeing a shift towards more performance art pieces in museums and galleries? I feel that audiences want to have a full sensory experience. How does Maximalist performance art achieve this better than other medium of art? N: I practice a process of allowance where I let myself do what I want. This approach results in maximum data and action. By letting myself engage with an array of modalities I can generate multiple outcomes and possibilities. Because I'm not limited to any single mode of involvement, I'm free to use painting, performance, photography, or video or a mixture of modalities as I find necessary depending on my agenda and instinct. This suits my athletic, resourceful, and determined nature. I approach performance art in the same way I would approach any other art modality- by paying close attention to gut instincts and psychic impressions in a process designed to override cerebral programming. The aim is always to align action with intention, and make note of the findings and outcome along the way. Performance art is a good choice when the concept I'm grappling with calls for a human body, action, or a narrative to actuate the outcome, especially literal concepts like worshiping the golden calf or using blood to cleanse things. My body can become a tool, a stand-in, or effigy of or for the viewer, creating a point of commonality to facilitate access. Aligning action with intention is also a way to re-frame ritual and an attempt to validate the effectiveness of approaches historically relegated to realms of religious structures and beliefs. I was recently invited to teach an art theory class for kids at The Hudson Valley Sudbury School. Through our discussions it emerged that the students felt most drawn to art practices and outcomes that suited the nature, mentality, and necessity of the individual artist. For instance they could relate to how Chuck Close became successful at painting faces as a result of his lifelong struggle with a facial recognition disorder. In reflecting on my personal method it occurs to me that my mode of operation is dictated by my nature, I didn't choose to function within the Maximalism approach and philosophy, it's just that the philosophy happens to align with my nature. I'm a serial over-doer of all things who relishes the opportunity to push things too far. My work is reactionary because I'm a reactionary person. For instance the first time I encountered minimalism I was ready to explode in a thousand directions. And, as an art student I couldn't help but challenge typical art professor's slogans such as "You have to know when to stop." Of course I could recognized the academically dictated stopping point but I would never in a million years stop there. I've always felt that learning how to challenge, push, or destroy something is a valid study when handled respectfully and with intention. Performance art is an another mode of operating for artists to use in order to find or generate new information, to experiment with creating new experiences, or to try to express something they otherwise couldn't. It can engage the viewer in an intimate way offering the potential to build powerful experiences as it facilitates a space that can involve and include the viewer in a novel physical or psychic way. It's possible that since performance art inhabits walking space where gallery-goers would otherwise be moving about, a psychic connection is created by sharing the same space. As viewers, we know less about what it would be like to hang motionless on a wall. Performance art offers a platform for artists to practice aligning action with intention, a way to possibly re-frame ritual and to build experimental new models for of control or power to replace outmoded religious structures and beliefs. But also, It's possible the performance art trend might be a way for artists to backhandedly confront consumerism and elitism simultaneously, or at least to create the illusion of doing so. Commercial galleries and academic environments can be market driven or exclusive, but performance art has the ability to dissolve those traditional notions and to expand viewership by engaging broader mentalities in a way that would be difficult for strictly visual work focused on heady concepts or dollar amounts. And since we live in a culture of visual bombardment, where viewer's digitally conditioned eyes and minds are increasingly savvy, and in conjunction with consumer programming, we need something that can function both inside of and outside of commercial gallery and academic paradigms. There is a literal dissolution of boundaries. Since performance art is impervious to ownership and commodification, it pushes against market-driven capitalist structures and challenges a system where finances determine success. Issues of marketability, ownership, or commodity all come into play because its difficult to financially capitalize off of performance art. So, maybe it's like most trends- timely and culturally necessity. I developed the Animal Maximalism exhibition concept as a way to bombard the human sensory input manifold with the intention of revealing cloaked information. I use the word "Animal" as an homage to instinct. For me academia operated through reversal, fueling my defiance more than refining me the way school is supposed to, so part of my mission has always been to build legitimate framework for us animals, one that is less cage-like, and Maximalism is a good framework for that agenda. I try to work within and build upon systems that already exist that might reflect and support my authentic nature, and to allow my work to reflect and be a response to the full spectrum of my body's biologic manifestation of its own history within its cultural environment. Maximalism feels like science-fiction, in that it offers the potential for system building where the inward personal landscape can travel all the way outward through the giant jumbled experience of collective household, community, country, and planetary psychic connections. Maybe performance offers an easier access point to the viewer in that we can all relate to each other as humans who are human shaped and have human form. We all share common ways of moving our human forms through space. It's possible that performance could function to create a portal, like a way out or a way in. The Cult of Painting by Nina Isabelle 2014 Painting is a visual, psychological, or metaphysical study or exploration of an object or non-object, a place or non-place, an inner, outer, or simultaneous multiple psychic dimensions, something other, all, or none of the above. Various viscosities of liquid or paste suspending colored pigments in oil, wax, synthetic polymer, or other, are sometimes but not always laid down, poured, sprayed, or applied by the hand as an extension or non-extension of the wrist, elbow, arm, shoulder, hip, body, outer-body, aura, transcended-self, future-self, or by proxy with either a brush, tool, or other, onto a solid or canvas surface in either multiple or single opaque or transparent layers or strokes resulting in a tangible visual object manifest in the physical dimension as having weight, height, depth, mass, and occupying an amount or volume of time and likewise resulting in an equal to, greater than, or less than physical, psychological, or spiritual impact of understood or non-understood ethereal consequences within an inverse unquantifiable psychic dimension. The conception, execution, and result will or won't be quantifiable by subsets of verbal language, written or spoken, which may or may not contain specialized terminology.