Of Metal and Bone: Interactive Muti-media Installation


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Venae Cavae, 2013
Interactive Video and Sculptural Installation
Projection: 70" x 139", Sculptural Installation: approx 13' x 13' x 16'
In collaboration with Eric Valosin.

Venae Cavae is an, interactive video installation created for Gallery Aferro's Activate Market Street Initiative. It is centered around themes of decay, revitalization, and the relational aesthetics that underpin such transformation. Like the veins of the same name in human body, which carry deoxygenated blood back to the heart to be revitalized, the viewer and passersby are transported into the landscape, to become signs of life, light, and vitality amidst the ambiguously apocalyptic landscape. This landscape becomes a new arena for bodily interaction, in which virtual space is intermingled with real space. Just as the passersby activate the virtual space of the installation, they simultaneously activate the physical space of Market Street itself, becoming analogous signs of life, light, and vitality amidst Aferro Gallery’s revitalization of Newark as a whole. 

This multiplicity of space is folded into yet another dimension with the accompanying light and sculptural installation in the physical space behind the video. The projected, sometimes inverted shadows, traversing these disorienting spaces ultimately generate relational encounters in which creative acts coauthor a further understanding of our surroundings and ourselves. Venae Cavae marks the first of a series of collaborations between artists Marc D’Agusto and Eric Valosin, who extend similar relational revitalization efforts to their work with Gravity Arts Initiatives.




The Proposal:
Our original proposal deals with inverting silhouettes of live passersby and inserting them into a projected scene. We combined some of my interest in relational aesthetics and the bodily metaphors of shelters and architectural forms in a state of decay that points restoration and revitalization, our shared interests in perception and disorientation of spacial relationships and Erics experience with interactive projection installations and tendencies towards a mystical theology.