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... 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.

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HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... CITIZEN PARTICIPATION: DIAGRAMS & DIRECTIVES ​ FEMINIST ART GROUP (IV Castellanos, Amanda Hunt, Nina Isabelle & Thea Little) ABC No Rio in Exile at Bullet Space 292 E. 3rd St. NYC May 6, 2018 ​ Organized by Esther Neff & Steven Englander ​ Feminist Art Group Citizen Participation : Diagrams & Directives / ABC No Rio in Exile at Bullet Space / photos by Esther Neff Feminist Art Group / Thea Little Citizen Participation : Diagrams & Directives / ABC No Rio in Exile at Bullet Space / photos by Esther Neff Feminist Art Group Citizen Participation : Diagrams & Directives / ABC No Rio in Exile at Bullet Space / photos by Esther Neff Feminist Art Group Citizen Participation : Diagrams & Directives / ABC No Rio in Exile at Bullet Space / photos by Esther Neff Feminist Art Group / Thea Little Citizen Participation : Diagrams & Directives / ABC No Rio in Exile at Bullet Space / photos by Esther Neff Feminist Art Group / Nina Isabelle Citizen Participation : Diagrams & Directives / ABC No Rio in Exile at Bullet Space / photos by Esther Neff Feminist Art Group Citizen Participation : Diagrams & Directives / ABC No Rio in Exile at Bullet Space / photos by Esther Neff Feminist Art Group / Amanda Hunt Citizen Participation : Diagrams & Directives / ABC No Rio in Exile at Bullet Space / photos by Esther Neff Feminist Art Group Citizen Participation : Diagrams & Directives / ABC No Rio in Exile at Bullet Space / photos by Esther Neff Feminist Art Group Citizen Participation : Diagrams & Directives / ABC No Rio in Exile at Bullet Space / photos by Esther Neff Feminist Art Group / IV Castellanos Citizen Participation : Diagrams & Directives / ABC No Rio in Exile at Bullet Space / photos by Esther Neff Feminist Art Group Citizen Participation : Diagrams & Directives / ABC No Rio in Exile at Bullet Space / photos by Esther Neff Feminist Art Group Citizen Participation : Diagrams & Directives / ABC No Rio in Exile at Bullet Space / photos by Esther Neff

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... THE WINDMILL WEAPON MATRON MAY 2016 ​ ​ The Windmill Weapon Matron was built on May 12, 2016 and exhibited on June 3, 2016 as part of The New School's Social Justice exhibition with The Bushwick Collective. Materials include s awhorse, l umber, co nstruction m aterials, s pray p aint, h ouse p aint, a fghans, w eapons, b icycle p arts, y arn, p laster, t erra c otta, c hain. She is 90h x 53w x 45d. ​ She 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 is 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 ​ ​ ​ ​

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... BEAST CONJURING at Paul McMahon's MOTHERSHIP Woodstock, NY January 16-21, 2018 On January 21, 2018 performers at Paul McMahon's Mothership in Woodstock, NY work to conjure the sea beast from the book of Revelation. Nina Isabelle at The Mothership The Beast at Mothership Lorene Bouboushian, Nina Isabelle, Brian McCorkle, Linda Mary Montano, Ever Peacock, Miles Pflanz, and Jennifer Zackin. Photo by Amelia Iaia Miles Pflanz at The Mothership The Beast at Mothership Lorene Bouboushian, Nina Isabelle, Brian McCorkle, Linda Mary Montano, Ever Peacock, Miles Pflanz, and Jennifer Zackin. Photo by Amelia Iaia Linda Mary Montano The Beast at Mothership Lorene Bouboushian, Nina Isabelle, Brian McCorkle, Linda Mary Montano, Ever Peacock, Miles Pflanz, and Jennifer Zackin. Photo by Amelia Iaia Nina Isabelle at The Mothership7509 The Beast at Mothership Lorene Bouboushian, Nina Isabelle, Brian McCorkle, Linda Mary Montano, Ever Peacock, Miles Pflanz, and Jennifer Zackin. Photo by Amelia Iaia NAI_7452 Nina Isabelle, Ever Peacock The Beast at Mothership Lorene Bouboushian, Nina Isabelle, Brian McCorkle, Linda Mary Montano, Ever Peacock, Miles Pflanz, and Jennifer Zackin. Photo by Amelia Iaia Beast Conjuring KILL Paper Collage 22x30 (rubberized paint, gouache, ash, enamel, watercolor) By Nina Isabelle The Beast at The Mothership The Beast at Mothership Lorene Bouboushian, Nina Isabelle, Brian McCorkle, Linda Mary Montano, Ever Peacock, Miles Pflanz, and Jennifer Zackin. Photo by Amelia Iaia The Beast at The Mothership The Beast at Mothership Lorene Bouboushian, Nina Isabelle, Brian McCorkle, Linda Mary Montano, Ever Peacock, Miles Pflanz, and Jennifer Zackin. Photo by Amelia Iaia Nina Isabelle at The Mothership The Beast at Mothership Lorene Bouboushian, Nina Isabelle, Brian McCorkle, Linda Mary Montano, Ever Peacock, Miles Pflanz, and Jennifer Zackin. Photo by Amelia Iaia Nina Isabelle at The Mothership The Beast at Mothership Lorene Bouboushian, Nina Isabelle, Brian McCorkle, Linda Mary Montano, Ever Peacock, Miles Pflanz, and Jennifer Zackin. Photo by Amelia Iaia Nina Isabelle at The Mothership The Beast at Mothership Lorene Bouboushian, Nina Isabelle, Brian McCorkle, Linda Mary Montano, Ever Peacock, Miles Pflanz, and Jennifer Zackin. Photo by Amelia Iaia Nina Isabelle at The Mothership The Beast at Mothership Lorene Bouboushian, Nina Isabelle, Brian McCorkle, Linda Mary Montano, Ever Peacock, Miles Pflanz, and Jennifer Zackin. Photo by Amelia Iaia Nina Isabelle, Lorene Bouboushian The Beast at Mothership Lorene Bouboushian, Nina Isabelle, Brian McCorkle, Linda Mary Montano, Ever Peacock, Miles Pflanz, and Jennifer Zackin. Photo by Amelia Iaia Lorene Bouboushian at The Mothership The Beast at Mothership Lorene Bouboushian, Nina Isabelle, Brian McCorkle, Linda Mary Montano, Ever Peacock, Miles Pflanz, and Jennifer Zackin. Photo by Amelia Iaia Lorene & Nina at The Mothership The Beast at Mothership Lorene Bouboushian, Nina Isabelle, Brian McCorkle, Linda Mary Montano, Ever Peacock, Miles Pflanz, and Jennifer Zackin. Photo by Amelia Iaia Brian McCorkle at The Mothership The Beast at Mothership Lorene Bouboushian, Nina Isabelle, Brian McCorkle, Linda Mary Montano, Ever Peacock, Miles Pflanz, and Jennifer Zackin. Photo by Amelia Iaia Nina Isabelle at The Mothership The Beast at Mothership Lorene Bouboushian, Nina Isabelle, Brian McCorkle, Linda Mary Montano, Ever Peacock, Miles Pflanz, and Jennifer Zackin. Photo by Amelia Iaia Nina Isabelle and Lorene Bouboushian The Beast at Mothership Lorene Bouboushian, Nina Isabelle, Brian McCorkle, Linda Mary Montano, Ever Peacock, Miles Pflanz, and Jennifer Zackin. Photo by Amelia Iaia Bouboushian, Isabelle, Peacock The Beast at Mothership Lorene Bouboushian, Nina Isabelle, Brian McCorkle, Linda Mary Montano, Ever Peacock, Miles Pflanz, and Jennifer Zackin. Photo by Amelia Iaia The "Beast Conjuring" performance intended to conjure and kill the sea beast from the book of Revelation. A group of artists and performers were invited to simultaneously interweave their own processes and intentions as a way to generate energies that might be focused toward the common goal of beast conjuring. Together the group worked to build and maximizing the physical, sensory, and psychic spaces that bind the internal and external dimensions of awareness through performative modes of sound making, movement, object construction, and ceremonial-like gestures in a process that became an inquiry into how a metaphoric conjure-and-kill scenario might translate or become useful in a literal dimension where such things are less possible-seeming. ​ "Beast Conjuring" was performed within an installation including ten hand-fabricated crowns, ten cedar root horns dug from local woods, hand painted imagery of the seven-headed ten-horned beast, a suspended hand-sewn white linen angel, a reconstructed domestic scene from the home of an ex-evangelical and a giant edible Whore of Babylon cake as bait. Lorene Bouboushian read personal text and improvised sound and movement, Linda Mary Montano performed a holy water blessing as Chicken Linda, Brian McCorkle produced sound using a Saxophone and his specially designed Beast Box, (a noise machine built with raspberry-pi based software that cast neural nets for soul retrieval,) Jennifer Zackin engaged in a task-based performance to weave a beast trapping vortex, Ever Peacock and I performed an acoustic rendition of Larry Norman's *You've been Left Behind* thirteen consecutive times all awash in Miles Pflanz's video remake of the 2014 American Christian apocalyptic thriller film *Left Behind* (based on the bestselling novels by Tim Lahaye and Jerry B. Jenkins) that reframes durational performance art as post-apocalyptic living. ​ It's difficult to gauge the effectiveness of a performance conglomerate like "Beast Conjuring" due to its potential to be made to mean multiple things by participants and observers and the ripples of their combined experiences and energies. At the same time, the ability of a situation to evade meaning is exciting. No literal beast popped out of the floor, no politicians were struck dead and there weren't any recognizable or even loosely associated repercussive events of cosmic significance but the usefulness and appeal of such a process seems to unfurl over time in a circular and translucent way that generates unanswerable questions and hints at the possibilities and potential of less realistic thinking and doing.

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... SOLVERMATH PHASE ONE - FEBRUARY 24, 2023 TWO THINGS CRACK IN HALF FEBRUARY 20, 2023 RPI OPEN STUDIO DECEMBER 2022 LISTENING MEDIUMS OCTOBER 2022 RINGING IN EARS OCTOBER 2022 LIVESTREAM JULY 2022 PSYCHIC SELF DEFENSE DECEMBER 2020 - GIANT WOODEN STAKE FOR KILLING ENERGETIC VAMPIRES IMAGINED PERFORMANCE STORYTIME WITH IV CASTELLANOS PARA\\EL PERFORMANCE SPACE FEBRUARY 2021 WHAT THE BODY KNOWS AUGUST 2020 MOSS ROCK CAGE APRIL 2020 TEN THOUSAND OBJECTIVES MARCH 2020 INTERVIEW BY LINDA MARY MONTANO FEBRUARY 2020 VOICES & CHOICES - THE EAR - BROOKLYN, NY AUGUST 2019 REMARKABLE NEW LOCATIONS - CX SILVER GALLERY - BRATTLEBORO, VT JUNE 2019 ILLUMINATING INTANGIBLES - PARA\\EL PERFORMANCE SPACE - BROOKLYN MARCH 2019 SHAPE OF A FEELING 2018-PRESENT SEEMRIPPER - ELIZABETH FOUNDATION - NYC OCTOBER 2018 LANDLINES - CX SILVER GALLERY - BRATTLEBORO, VT AUGUST 2018 WE CAN'T TELL WHAT WE'RE DOING - HiLO GALLERY - CATSKILL, NY AUGUST 2018 NEW SITUATIONS - THREE PHASE CENTER - STONE RIDGE, NY JUNE 2018 WHISTLE PORTRAITS - HiLO GALLERY - CATSKILL, NY JUNE 2018 FORCE YOURSELF TO BE GOOD - PANOPLY PERFORMANCE LAB - BROOKLYN, NY MAY 2018 CITIZEN PARTICIPATION WITH FEMINIST ART GROUP AT ABC NO RIO / BULLET SPACE IN NYC MAY 2018 HYMN WARP TRANSDUCER AT BEDSTOCK - NINE HERKIMER IN BROOKLYN APRIL 2018 PIANO PORTRAITS - HiLO GALLERY - CATSKILL, NY FEBRUARY 2018

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.

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

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... EXPERIMENTAL ARCHERY & MARKMAKING WORKSHOP ​ @ ​ R O S E K I L L June 10, 2017

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

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

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... SILVER GELATIN PRINTS 1989-1999 A Collection of gelatin silver prints made from photograms, handmade negatives, and experimental darkroom photographic processes. Mother Selenium toned silver gelatin print toned silver gelatin print toned silver gelatin print Selenium toned silver gelatin print 7x9 toned silver gelatin print toned silver gelatin print Selenium toned silver gelatin print 7x9 toned silver gelatin print prismacolor on toned silver gelatin print toned silver gelatin print sepia toned silver gelatin print toned silver gelatin print toned silver gelatin print toned silver gelatin print Selenium toned silver gelatin print 7x9 1/1

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

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... THE GIANT WEED WEB IV SOLDIER'S F.A.G. (FEMINIST ART GROUP) at ROSEKILL SEPTEMBER 2016 ​ Feminist Art Group founder IV Castellanos of IV Soldiers Gallery curates a group of artists at Rosekill Performance Farm in Rosendale , NY for a weekend of building and performance. Elizabeth Lamb, Kaia Gilje, Amanda Hunt, Lorene Bouboushian, Nina Isabelle, Quinn Dukes, Anya Liftig, IV Castellanos, Jill McDermid, Claribel Jolie Pichardo.

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... THE WOODSTOCK LIBRARY FLOATING BOUNCY CHAIR JUNE 2016 For the 85th Annual Woodstock Library Fair Hudson Valley artists were commissioned to repurpose a heap of old metal folding chairs for a silent auction to benefit the library. I made this floating bouncy chair using studio scraps and discount bungee cords from P&T Surplus in Kingston, NY. Fellow artist and Vice President of Friends of The Woodstock Library Michael Hunt says “It's the coolest motherfucking chair.”

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... 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.

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... MOTHERING NINA A. ISABELLE, EVER Z. PEACOCK, & SYLVIA ​ ROSEKILL PERFORMANCE ART FARM ROSENDALE, NY JUNE 3, 2017 MOTHERING looks at a child's nonverbal perception of the unspoken or hidden in relation to the improbability of a hierarchal god or mother. Multilayered family video and sound are projected onto a quasi-defunct Airstream trailer behind the south barn at Rosekill Performance Art Farm while Mother and Son perform with gestural sound-loops and shrouded interpretive movement.

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

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

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?