A painting can be as comforting as a sweater on a cold day. The colors can make you remember the tablecloth on your grandmother's breakfast table, or the dress you wore to make yourself feel secure on your first day of daycare. Using color and perspective to evoke mood and emotion, I recreate such images, appropriating them while maintaining the universal, human element that attracts me to them in the first place. My paintings explore tangents of film and painting. I paint figures that fight between the realm of motion and stillness, fiction and reality. My imagery comes from vintage suspense and horror films, and brings them into the present. I am interested in taking elements of film in my paintings and returning them to the realm of film and video. I use animation techniques to make the shapes and colors of the "characters," within both positive and negative space in my paintings, come alive in film. By relating my paintings back to film, I can take another look at what draws me to them.

1,000 Cell Phones consists of multiple displays that playfully visualize and animate discovered Bluetooth devices within its situated space. Devices are represented as abstract discs in dimensional screen space, colored by transcribing the devices’ unique identifiers to distinctive colors. This simple but evocative effect emphasizes how an ID number expressed as a one-of-a-kind color not only makes visible a distinguishing feature of our portable networked device, but also reshapes its obfuscated technical datum into an aesthetic and coherent design object. It asks us if this machine identifier expresses our persona and personality, perhaps without our knowledge and complete understanding of the implications.

These posters include art photos to encourage all ages and populations to vote.

"The Mystery of Which Mystery" is an interactive, improvisational storytelling performance between music and image. The artist is perpetually at the point of acknowledging that artistic creation is an unending interactive exchange. Ideas and expressions take precedence over ownership and start to become synonymous with the collaborative process. In this piece, thinking processes and action are changed based on different combinations of narrative. The video is the artist’s personal interpretation of the original score, and the improvisational performance is an additional narrative layer of musicians. The artists’ collaboration contributes to an interactive shared ownership storytelling between two media. There is a deeper logic to that draws its critical force from the opposition between contemporary media practices: improvisation, interactive storytelling, and inter-media work, in which art essentially finds itself complicit with a globalization of the image in the service of capital. additionally, videos by Yu-Chen Chiu 1.Self Portrait 2.Still 3.The Mystery of Which Mystery (music by Pei-Shan Kao)

This is a collective, grassroots project built around a loose framework with an uncertain conclusion. The premise is to turn the typical “event survey” idea on its head, and put it to good, long-term use by turning it into a longer-term multimedia project that embodies and examines Figment’s values; specifically, the roles of art and creativity in the public space, and leveraging art toward community building. Through involving a team of contributors and inviting back Figment attendees, the survey becomes an exercise in creative community building, with the goal of involving people who didn’t even attend Figment.

Underwater Listening Station is an audio work where “viewers” listen to underwater recordings of the New York Harbor via headphones, at a listening station placed at the water’s edge. The audience will be attracted to the revelatory quality of this work, using the sense of hearing to gain access to a forbidden world beneath the surface of the water. Here, water can be construed as a metaphor for the unconscious (what’s unseen below the surface and not readily apparent above the surface). This intimate work allows audience members to stop for a moment and meditate on the bodies of water which surround the City of New York, prompted by both the sounds and sights of water, allowing a momentary respite from the busy pace of urban life.

In our show "Wondermare," we have chosen the narrative template of "Alice in Wonderland" because it contains potent narratives about the rites of passage into adulthood. The story confronts the confusing and often nonsensical rituals that we must travel through in order to obtain a "civilized" or "adult" persona in the world, "behind" or in "front" of our looking glass. It is our belief that the much of the behavioral conditioning programmed in our subconscious is the unhealthy byproduct of a world out of balance. It is a "house of cards" on the brink of catastrophe, the truth of which is obscured from us by our own myopic pursuits and illusions. Wondermare creates the opportunity for a psychological "rebooting," a "do over" where through interactivity, the participant has another "chance" at addressing his own rights of cultural passage that he may not have gotten right the first time around.

"Word Tree" uses SMS interaction to map out participants' first thoughts about a word concept. By viewing these mapped-out and connected thoughts, people can gain insight into how each person associates something in their thinking.

A button, flanked on either side by two traffic cones, controls a traffic cone on a monitor. A press of the button moves the cone in the video. Usually, a traffic cone is intended to create a detour or to signify an area to be avoided. Viewers experience a moment of hesitation as they are conflicted with a desire to press a big button: what will happen? Governor's Island Conescape will raise awareness of the possibility of viewing traffic cones as an aesthetic practice, recontextualizing them as art.

A space is created with photographic art, and participants are filmed.

Panoply consists of 46 rings of 16 full-color interactive LEDs, controllable with a modified Wii controller mounted in a sphere. Users can move the sphere to control various aspects of the displayed patterns.

With future forecasts predicting ultimate doom for a man-altered world, it seems there is a clog in the conduit of information transmitted between those in control and the public at large. Black Ops, psychological torture, acoustic weapons, Project Starfire, and a multitude of other state sponsored programs exist, well-hidden in plain sight, shrouded in a stigma of conspiracy and discouraging significant public inquiry. Psych Securities LLC is an ongoing exploration of this aforementioned covert reality, most clearly seen while in an alternative psychological state. By compiling declassified documents, historical narratives, and psychedelic conjecture, a visual world is pieced together, undermining strategies of deception and concealed truths. The images, as photographic composites, mimic this process. The project’s modular presentation allows clustered photographs to resemble the structure of the intelligence networks that have inspired a number of the depictions themselves.