Nina A. Isabelle is a multidisciplinary artist working with abstract painting, performance art, video, photography, sound, and sculpture. Nina Isabelle HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... Addition Equals Subtraction, 43.50 x 62.25, house paint and flashe on canvas, 2017 Nina A Isabelle performing in Temporary Ungovernable Zone for Anarko Art Lab at Ft. Tilden, NYC. Photo by Jaime Rosenfeld FUTURE: -Weirdos in the Woods - an upstate art adventure by The Tavern , Three Phase Center , and Rosekill Performance Art Farm . August 29 - September 1, 2025 PAST: -May 2025 recipient of The Malcolm S. Morse Graduate Research Enhancement Award -THE CORVETTE PERFORMANCE MACHINE , OFF SIGHT + SOUND , Eastern Bloc , Montreal, Quebec, March 20-21, 2025. -UFO Conjuring for Transit of Venus at Kiddie Pool Art, December 6, 2024, Albany, NY -Dialogues for the Ear & Eye: Anton Yakovlev, Nina Isabelle, Marianne Osiel, 9W Diner, Saugerties, NY, November 12, 2024 -Linda Montano, Nina Isabelle, Brian McCorkle, O+Art festival, Keegan Ales, Kingston, NY, October 13, 2024 -The Scholar with Structure Affliction, Hampshire College, Amherst, MA, October 7, 2024 -Noisy Exercise Video Performance, Rosekill Performance Art Farm, Rosendale, NY, May 24, 2024 -Seeding Care with Kathie Halfin, Hanae Utamura, and Georgia Lale, Artport, Kingston, NY, May 19, 2024 -RPI Graduate Exhibit, Create Communities Studio, Troy, NY April 28, 2024 -Postenkill Gorgeous with Lisa Schonberg, Oakwood Community Center, Troy, NY, Jan 15, 2024 - 5 Objects, Percussion & Piano for Lisa Schonberg's Old Growth Playback at The Sanctuary for Independent Media in Troy, NY on December 16th, 2023 at 7:PM - Electronic Arts PhD Open Studios, Rensselaer Polytechnic Institute, Troy, NY - Chicken Performance with Linda Montano, Paul McMahon & Brian McCorkle at Lamb Center, Saugerties, NY - Art = Healing - group exhibit by Linda Montano at Emerge Gallery, Saugerties, NY - b priori, Rensselaer Polytechnic Institute EArts PhD Graduate Exhibit at Collarworks , Troy, NY - SOLVERMATH! Initial phase opens virtually February 24, 2023, CLICK HERE > > > SOLVERMATH! - West Hall Open Studios, Rensselaer Polytechnic Institute, Troy, NY, December 2022 - Livestream - Nina Isabelle & Adriana Magaña at Jennifer Zackin's Upstate Art Open Studio, July 2022 - Building as Being / Construction as Performance - IV Castellanos & Nina Isabelle at Rosekill Performance Art Farm, June 2021 -Nina Isabelle - Artist, Thinker, Observer , Theresa Widman's Podcast #183 - The Black Meta Interviews Nina Isabelle for Radio Kingston, by Beetle & Freedom Walker, May 2021 -PSYCHIC SELF-DEFENSE Sculpture, Installation, & Demonstration at Art/Life Kingston, May 1st - 29th, 2021 -Imagined Performances read by IV Castellanos at Para\\el Performance Space, Brooklyn, NY, February 12, 2021 -Kerry Santullo interviews Nina Isabelle for NYC Children's Museum of Art "Meet The Makers ," October 21, 2020 -Spheres of Perception & Value, Virtual Presentation, Hynes Institute for Entrepreneurship & Innovation at Iona College, September 21, 2020 -Video Manifestation System User Interface Lecture and Presentation, Grace Exhibition Space, NYC, May 1, 2020 -Superfund Revisioning Project Lecture, Grace Exhibition Space, NYC. May 15, 2020 -EQUINOX, An Emergency of Joy, March 19, 2020 -The Ear, Brooklyn, NY, August 23, 2019 -Remarkable New Locations- Nye Ffarrabas & Nina Isabelle, CX Silver Gallery, Brattleboro, VT, May 18th - June 15th, 2019 -PARALLEL-104 Meserole Street, Brooklyn NY, Saturday, March 23rd,2019-7:PM -documentation discussion panel with LiVEART.US featuring Emergency INDEX at Queens Museum , February 17, 2019 2:00-5:00 -Empathy Blinders by David Ian Bellows/Griess with Nina Isabelle & Elizabeth Lamb, Brooklyn Arts Media , December 4-18, 2018 -As Far As The Hart Can See / In Honor of, The Elizabeth Foundation for the Arts , NYC, October 20th, 2018 -actLife, Linda Mary Montano, Nye Ffarrabas, Cai Xi, Nina Isabelle, Jennifer Zackin, Lee Xi & Sharon Myers, CX Silver Gallery, Brattleboro, VT, August 24 -Healing + Arts / Radical Domesticity, Movement Metaphors Workshop, Kingston, NY, August 24, 2018 -NO NUDES NO SUNSETS , August 11 - September 22, 2018, Green County Council on the Arts , Catskill, NY -Whistle Portraits, Linda Montano & Nina Isabelle, Secret City Art Revival, Woodstock, NY, July 28 - DRAMATIC OBJECT MAKING / EMPATHY BLINDERS with Elizabeth Lamb & David Ian Bellows Griess, THREE PHASE , Sept.1, 2018, Stone Ridge, NY -WE CAN'T TELL WHAT WE'RE DOING, HiLo , July 20, 2018 - August 26, 2018, Catskill, NY -Whistle Portraits, Linda Mary Montano, Nina Isabelle & Jennifer Zackin, HiLo, Catskill, NY June 10, 2018 -ANIMALIA, Anarchist Art Festival, Judson Memorial Church, NYC, June 8 2018 -GUTTER HANGER w/ Lorene Bouboushian & Friends, THREE PHASE , 1:PM-DARK, May 27, 2018, Stone Ridge, NY -EMBODYING THE OUTER BODIES: a demonstration of low-level energetic vacuum form technologies 7:PM, May 24, 2018, PPL , Brooklyn, NY -Citizen Participation: Diagrams & Directives, Feminist Art Group, www.bulletspace.org , May 6, 2018, NYC -Hymn Warp Transducer at Paul McMahon' s Bedstock Exhibit, 9 Herkimer Place, Brooklyn, NY, April 15, 2018 -New Genres at Living Arts in Tulsa,OK , March 2-3, 2018 -MUSCULAR BONDING at M.A.R.S.H. (Materializing and Activating Radical Social Habitus)- Feb 15 - March 5, St. Louis, MO -The Video Manifestation System released by Human Trash Dump - February 26, 2018 -PIANO PORTRAITS By Linda Mary Montano with Nina Isabelle, & Jennifer Zackin at HiLo , Catskill, NY, Feb. 11, 2018 -BEAST CONJURING by Nina Isabelle, The Mothership , Woodstock, NY, Jan16-21, 2018 http://paulmcmahon.tv/mothership -MKUVM, Human Trash Dump, November 27, 2017 https://archive.org/details/htdc002 -The Bedroom, 4th Iteration by The Women Artist Team, Holland Tunnel Gallery , Brooklyn, NY , October 20- November 12 -Patricia Field's International Art / Fashion Show, Joe's Garage, October 6, 2017, Catskill, NY www.greenearts.org -CENTENNIAL:SHE, Greene County Council on the Arts, October 7 - November 11, 2017 -The Shirt Factory Centennial Celebration- Performance / Open Studio , Kingston, NY, September 16, 2017 -F.A.G. Slumber Party, Nina's House & Yard Studio, Hurley, NY September 4-6, 2017 -We Are The Secret Garden: An Evening of Performance, Kingston, NY September 26, 2017 -The Bedroom , The Women Artist Team at NA Gallery, Chungcheongnam-do, South Korea, July 23- Aug. 7, 2017 -Just Situations, Grace Exhibition Space, Brooklyn, NY, July 23, 2017 https://justsituations.wordpress.com -Temporary Ungovernable Zone , Anarcho Art Lab / ARTINYC, Ft. Tilden, NY July 8, 2017 -Experimental Archery Workshop , Rosekill Performance Art Farm, Rosendale, NY, June 10, 2017 http://www.rosekill.com - Mothering, Rosekill Performance Art Farm, Rosendale, NY, June 3, 2017 http://www.rosekill.com/ - N Y C Anarchist Performance Art Festival #11, The Judson Memorial Church , NYC, May 12, 2017 -The Fabric Of Women's Space-Time, The Lace Mill Gallery, Kingsotn, NY, May 13, 2017 -UNITY, The Lace Mill Gallery, Kingston, N, May 6-13, 2017 -The Unstitute's Projection Room,Catalunya, Spain, August 2017, http://www.theunstitute.org/Projection.Room.html - STAGES, Performance by Clara Diamond with Valerie Sharp & Nina Isabelle, GREENKILL , APRIL 15, 2017 -P R O P E R T Y , R O M A N S U S A N / RPWRHS, CHICACO, IL, APRIL 1-30, 2017, www.romansusan.org -Bangkok Underground Film Festival , Bridge Art Space, Bangkok, Thailand, March 4-12, 2017 -SHORTCUT TO HELL, January 22, 2017, Otion Front Studio, Brooklyn, NY www.otionfront.com -HiLo Art, April 2017, Catskill, NY https://www.hilocatskill.com -EotW (Embarrassed Of The Whole) February 4, 2017, Panoply Lab, Brooklyn, NY http://www.panoplylab.org -Mock The Chasm, November 12, 2016, Art/Life Institute Kingston, NY http://www.artlifekingston.com/ -JOB /// IV Soldier's Feminist Art Group at Panoply Performance Lab, Brooklyn, NY -San Diego Art Institute - The Dead Are Not Quiet, San Diego, CA October 1-31 -Animal Maximalism, Green Kill, Kingston, NY, October 1-15 www.greenkill.org -POLITRICKS: Theories & Other Conspiracies, October 14, Ellipsis Art, Philadelphia, PA -Artist and Location, September 23-October 9, Czong Institute For Contemporary Art, Gimpo Korea, www.cicamuseum.com -Jurnquist Coloring Book Show, September 24, Studio Fidlär, Alexanderplatz, Berlin

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

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

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... WHISTLE PORTRAITS By Linda Mary Montano HiLo Catskill June 10, 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 WHISTLE PORTRAITS at HiLo, we invite audience member-collaborators to sit with us and receive a public art healing. ART HEALS!!! - Linda Mary Montano photo by Adolfo Ibanez Ayerve

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... THE SILENT MASS GENERATOR WORKSHOP GES #411 ARCHIVE SPACE NOVEMBER 6, 2015 The Silent Mass Generator Workshop incorporated the public to assemble, build and incorporate physical mass within an experimental simulated mindfulness environment. The duration of the workshop spanned 5 hours and 44 minutes inside of The Grace Exhibition Space Shirt Factory Studio #411. There was no speaking, eating, or drinking. Participation was not required, participants were free to come and go, or stay for a portion of the workshop. The workshop was designed to distract the subconscious mind by the tedium of cutting, ripping, and tying material to form long strands in order to facilitate the entry into a mindful, meditative, psychic space. The project explored the development and agenda of interwoven notions of communal beliefs, material dynamics, possibilities of non-linear physical travel implied through numbers expressing location using longitude and latitude, the metaphor of breath in relation to inspiration and language styles expressing give-and-take or push/pull communication patterns, the articulation of verbal concepts in relation to the movement between ball-and-socket joints such as the hips and shoulders during the birthing-process, as well as the documentation of scientifically unsubstantiated effects of focused intention and ritual action in non-physical reality such as memory, deja-vu, and other phenomena of psychic imprint. An experimental soundscape designed with Christina Amelia Diamond acted as an electronic gong wash intended to initiate 23 cycles of ordered energetic body activation using specific Hz. Other auditory Information within the noise composition was generated by The Entity. Speaking was disallowed at The Silent Mass Generator Workshop. The Entity thanks Jeanie Antonelle, Undine Brod, Leonard Fujiyama, Hillary Harvey, Mor Pipman, and Christina Varga for their contribution of materials. CALL FOR MATERIAL DONATIONS SEPTEMBER 25, 2015 The Entity seeks donations of scrap, waste, or unsellable materials such as fabric cut-offs, twine, rolled or spooled material, rope, ribbon, thread, or anything that is in long strands or could be cut and tied to form long strands. The nature of the project has lead to the present development of an official CALL FOR DONATED MATERIALS. The Entity also seeks donations of traditional artist’s materials as well as non-toxic industrial materials which might be repurposed. The upcoming phase of the project includes an opportunity for community participation with an interactive component in the form of a silent workshop intended to build physical mass through the hands-on manipulation of donated material. The workshop will be free and open to the public. FEEDING THE ENTITY MARCH 2015 Feeding The Entity explores the development and agenda of interwoven notions of communal beliefs, material dynamics, possibilities of non-linear physical travel implied through numbers expressing location using longitude and latitude, the metaphor of breath in relation to inspiration and language styles expressing give-and-take or push/pull communication patterns, the articulation of verbal concepts in relation to the movement between ball-and-socket joints such as the hips and shoulders during the birthing-process, as well as the documentation of scientifically unsubstantiated effects of focused intention and ritual action in non-physical reality such as memory, deja-vu, and other phenomena of psychic imprint.

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

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... THE BEDROOM 4th Iteration THE HOLLAND TUNNEL GALLERY Brooklyn, NY October 20 - November 12 The Bedroom is an international monochromatic flux installation by The Women Artist Team. The 3rd Iteration was exhibited at NA Gallery in Chungcheongnam-do, South Korea.

We Can't Tell What We're Doing is the discovery of a process that eats itself and then absorbs information from its own bowels. Nina Isabelle. HiLo Catskill. HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... WE CAN'T TELL WHAT WE'RE DOING A recursive Installation event including painting, sculpture, performance, wearables, photo & video, explosions, and more. HiLo Catskill, NY June 20 - August 26, 2018 Through the superimposition of objects, photographs, video, action, painting, performance and narratives, We Can't Tell What We're Doing presses toward and hunts for a shift in meaning. This work is an inquiry and demonstration of a process that highjacks the past as a way to cultivate a future the way an AI robot might discover how to make sourdough bread out of itself. We Can't Tell What We're Doing is the discovery of a process that eats itself and then absorbs information from its own bowels. In attempt to manipulate spatial priority through ingesting inspections of object installation designed to illuminate internalized pockets of herniated or obstructed space where abstracted, impacted, and encrypted information and nutrient data might be stuck or diverted, this process reveals itself as a method that facilitates a solid flow of information that can be used to bind meaning and value to the motility of art in a regular way.

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.

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

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

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

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... YARD WORK (YARD STUDIO) HURLEY, NY / MAY 2017

FAKE PHOTO DOCUMENTATION OF NON-PERFORMANCE BASED PERFORMANCE All information including location, artist, photographer, subject, process, object, HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... CAVE GIRL FAKE PHOTO DOCUMENTATION OF PROFESSIONAL NON-PERFORMANCE BASED PERFORMANCE All information including location, artist, photographer, subject, process, object, intention, dimensions, medium, duration, software, hardware, is unimportant and disallowed. JULY 9, 2017 Documentation #1 Location, artist, photographer, title subject, and intention are undisclosed and unimportant. Documentation #2 Location, artist, photographer, title subject, and intention are undisclosed and unimportant. Documentation #3 Location, artist, photographer, title subject, and intention are undisclosed and unimportant. Documentation #4 Location, artist, photographer, title subject, and intention are undisclosed and unimportant. Documentation #5 Location, artist, photographer, title subject, and intention are undisclosed and unimportant. Documentation #6 Location, artist, photographer, title subject, and intention are undisclosed and unimportant. Documentation #7 Location, artist, photographer, title subject, and intention are undisclosed and unimportant. Documentation #8 Location, artist, photographer, title subject, and intention are undisclosed and unimportant. Documentation #9 Location, artist, photographer, title subject, and intention are undisclosed and unimportant.

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... C O D E February 22, 2016 In response to Apple’s battle with the FBI over a federal order to unlock the iPhone of a mass shooter, C O D E looks at the differences between humans and machines and the difference between how these systems reveal or encrypt data through programming and intention.

The Random Community Generator - a social experiment by Nina Isabelle Nina Isabelle HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... RCG1-1 18x26, oil on canvas RCG1-2 18x26, oil on canvas RCG1-3 18x26, oil on canvas RCG1-4 18x26, oil on canvas RCG1-5 18x26, oil on canvas RCG1-6 18x26, oil on canvas RCG1-7 RCG1-8 18x26, oil on canvas RCG1-9 18x26, oil on canvas RCG1-10 18x26, oil on canvas RCG1-11 18x26, oil on canvas RCG1-12 18x26, oil on canvas RCG1-13 18x26, oil on canvas RCG1-14 18x26, oil on canvas RCG1-15 18x26, oil on canvas The Random Community Generator February 24, 2014 by Matthew Gioia The Random Community Generator is an interactive project designed to generate a random community of 15 people who, by either purchasing or bartering for one of the pieces in the series, agree to become acquainted with the owners of the paintings which come before and after theirs in the series. The series is itself a “community” of 15 visceral and boldly colored 18x26 oil paintings. Energetic and defiantly opaque, the paintings contain aggressive elements which thrust themselves off the painted surface, longing for release into the third dimension. Discreet rivers and pockets of luminous color saturate the canvas beneath criss-crossing paths of uncertain trajectory. Yet despite their apparent abstraction, there is a creeping sense that the paintings are actually a concrete rendering of the vertiginous tumult of impulse, image, and ancient emotion that swirls just below the more or less ordered surface of human consciousness; the tumult which divides the world from our knowledge of it. Produced as one massive painting by hanging 15 canvases in a tight row and applying elements in a sequential manner from beginning to end, the series expresses varying degrees of chance and manipulation which interplay within each piece as well as throughout the collective whole. Thus, the paintings are separate yet inextricably linked by elements which move ecstatically across multiple canvases. Taken as a whole, the project is a map of a mind, which is - in the first and the last instance - communal, complex and messy, organized by the logic of dreams. The interactive component of the series is laid out as a social and interpersonal experiment designed to facilitate an examination of the perception of separateness and identity. First, the project asks, “can a randomly generated or accidental community be as meaningful - or even more meaningful than a community based on occupation, convenience, interest, or faith?" And then the Community Generating begins dealing in ideas, and tips into abstraction. By challenging our stagnant definitions of community, the project asks us to look at the division between our private and public life, between the kind of community we would most like to be a part of and the kind of community we actually create, and between the people we are, the people we think we are, and the people other people think we are. Indeed, the Random Community Generator, by its process of creation as much as by its experimental distribution plan, generates profound questions: is there any such thing as a distinct individual? What comprises a person? How do people overlap, echo, mirror, and create each other, consciously and otherwise? The paintings will disband, but could it ever be possible to really know any one of them without knowing the others?

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

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... TWO THINGS CRACK IN HALF A Griswold Cast Iron pan from 1947 that belonged to my grandmother and a 500 ml Luminarc Working Glass both cracked in half in my kitchen on the same day. On December 27, 2022, I performed a photographic study and documentation of the objects. On February 20, 2023, I interviewed ChatGPT to help me understand. View & download full-color 30 page document here:

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

The MKUVM audio file functions as human behavior modification designed to disarm protective fear-based reality programming in order to insert dangerous encrypte HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... THE GIANT MK ULTRA MIND CONTROL RABBIT PLAYS MKUVM Duration: 14 min. 44 sec. Created February 2017 The MKUVM audio file functions as human behavior modification designed to disarm protective fear-based reality programming in order to insert dangerous encrypted emotional directives disguised as electronically modified and degraded voicemails from ex-lovers. The audio file utilizes technology developed by the CIA's MKUltra programs and experiments. Tags: Electronic Harassment, Magnetoencephalography, Mind Control, Behavior Control, LSD, CIA,MK/Ultra, Physicochemical Investigations, Voicemail, Infrasound, Secure Room, Microwave Auditory Effect, Bobolocapnine, Atlanta Federal Penitentiary Prisoner Experiments, Richard Bandler Murder Trial, NLP, Neuro-linguistic Programming, Ex-Lovers, Energy Weapons, Sonic Weapons, Satan, Behavior Modification, The Manchurian Candidate, Brainwash, Backmasking, Giant MK Ultra Mind Control Rabbit This sculpture is designed to disarm protective fear-based reality program in order to insert dangerous encrypted information disguised as electronically modified and degraded voicemails from x-lovers. The sculpture utilizes technology developed by the CIA's MKUltra programs and experiments. Giant MK Ultra Mind Control Rabbit This sculpture is designed to disarm protective fear-based reality program in order to insert dangerous encrypted information disguised as electronically modified and degraded voicemails from x-lovers. The sculpture utilizes technology developed by the CIA's MKUltra programs and experiments. Giant MK Ultra Mind Control Rabbit This sculpture is designed to disarm protective fear-based reality program in order to insert dangerous encrypted information disguised as electronically modified and degraded voicemails from x-lovers. The sculpture utilizes technology developed by the CIA's MKUltra programs and experiments. Giant MK Ultra Mind Control Rabbit This sculpture is designed to disarm protective fear-based reality program in order to insert dangerous encrypted information disguised as electronically modified and degraded voicemails from x-lovers. The sculpture utilizes technology developed by the CIA's MKUltra programs and experiments.

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