Adore (quería saber quién era yo)
2018
144” x 12” x 12”
concrete, plexiglas, paint, hardware, steel wire,
2018
144” x 12” x 12”
concrete, plexiglas, paint, hardware, steel wire,
The Question of U
2018
32” x 28” x 24”
steel, steel chain, s-hooks
2018
32” x 28” x 24”
steel, steel chain, s-hooks
Three Reflections
2018
dimensions variable
HD video
2018
dimensions variable
HD video
Marco Kane Braunschweiler and Jheanelle Brown
Light Rain
2018
dimensions variable
HD video
Light Rain
2018
dimensions variable
HD video
Untitled (Beach 2)
2018
10” x 8”
Photocopy on silver gelatin paper
2018
10” x 8”
Photocopy on silver gelatin paper
the darker it is the better you see
2018
12” x 12” x 8”
two-way mirrored plexiglas, dried common camellia, wine glass, sunflower seeds, 12 pennies
2018
12” x 12” x 8”
two-way mirrored plexiglas, dried common camellia, wine glass, sunflower seeds, 12 pennies
* exhibition *
Permanent Exhibition Organized by David Horvitz at Galerie Morille
Permanent Exhibition Organized by David Horvitz at Galerie Morille
A New Horizon, Slowly, Coming Into View /
To the Late Risers That Still Get the Worm /
Sunset in Reverse
2018
4k video
To the Late Risers That Still Get the Worm /
Sunset in Reverse
2018
4k video
Thanks to Lindsay August-Salazar.
MONKEY
2017
dimensions variables
hd video
MONKEY is a docufantasy, told through shadows, about two people growing close, and two people falling apart. You could say it’s an epic, a buddy movie, a family drama, or, indubitably, a downright freakfest. It takes place in Los Angeles on Christmas day, and the narrative is from the pages of Ulysses. The project at Human Resources was an exhibition of the first act of this winding, Homeric tale which chronicles the long, tender journey from loneliness to solitude.
MONKEY includes Jheanelle Brown, Nicholas Zhu, Jonny Garciamons, Femi Adeyemi and Brandon Bloom. Influences and quotations include Junot Diaz, Moodymann, Paolo Maganoli, Fran Ross, Susan Sontag, Ibn al-Haytham, Dj Funk, Colin Self, Robin James, Jace Clayton, Arthur Jafa, bell hooks, and others. Camera 2 is Nicholas Zhu. Moodymann handles the leitmotif, and Kelman Duran tracks feature prominently.
2017
dimensions variables
hd video
MONKEY is a docufantasy, told through shadows, about two people growing close, and two people falling apart. You could say it’s an epic, a buddy movie, a family drama, or, indubitably, a downright freakfest. It takes place in Los Angeles on Christmas day, and the narrative is from the pages of Ulysses. The project at Human Resources was an exhibition of the first act of this winding, Homeric tale which chronicles the long, tender journey from loneliness to solitude.
MONKEY includes Jheanelle Brown, Nicholas Zhu, Jonny Garciamons, Femi Adeyemi and Brandon Bloom. Influences and quotations include Junot Diaz, Moodymann, Paolo Maganoli, Fran Ross, Susan Sontag, Ibn al-Haytham, Dj Funk, Colin Self, Robin James, Jace Clayton, Arthur Jafa, bell hooks, and others. Camera 2 is Nicholas Zhu. Moodymann handles the leitmotif, and Kelman Duran tracks feature prominently.
* exhibition *
MONKEY ACT ONE
Human Resources
September 20-24 , 2017
MONKEY ACT ONE
Human Resources
September 20-24 , 2017
A test screening of the first act of Monkey at The Barn, run by Julie Niemi and Lola Kramer in upstate New York. The evening was a conversation on the video guided by a reader with excerpts from Claudia Rankine, John Biln, Fran Ross, Paolo Magagnoli, Junot Díaz, Arthur Jafa, Ann Lauterbach, T. J. Demos and John Harwood.
* screening *
MONKEY Test Screening
The Barn
August, 2018
MONKEY Test Screening
The Barn
August, 2018
2017
2017
38pp
Edition of 100
Images on forgetting. Documentation of a series of silver gelatin photocopies.
2017
38pp
Edition of 100
Images on forgetting. Documentation of a series of silver gelatin photocopies.
I’m a reader not a philosopher
Martine Syms and Marco Kane Braunschweiler
2016
dimensions variable
UV curable print on Plexiglas with aluminum frame and screws
Martine Syms and Marco Kane Braunschweiler see the amphitheater at the southern end of the Seattle Waterfront Park as a stage set for a tableau inspired by the famous, and probably apocryphal, Treaty of Point Elliott speech attributed to Chief Si’ahl. A photograph of Syms’s father, a survey engineer, takes the role of speaker, framed by landscape photographs taken during the artist’s travels along the West Coast of North America.
–Curator, Eric Fredericksen
Martine Syms and Marco Kane Braunschweiler
2016
dimensions variable
UV curable print on Plexiglas with aluminum frame and screws
Martine Syms and Marco Kane Braunschweiler see the amphitheater at the southern end of the Seattle Waterfront Park as a stage set for a tableau inspired by the famous, and probably apocryphal, Treaty of Point Elliott speech attributed to Chief Si’ahl. A photograph of Syms’s father, a survey engineer, takes the role of speaker, framed by landscape photographs taken during the artist’s travels along the West Coast of North America.
–Curator, Eric Fredericksen
One Wilshire to Ocean Avenue
2015
HD video
dimensions variable
It’s a trip down Wilshire from the origin point (One Wilshire at 624 S. Grand) to the Ocean at sunset. Soundtrack from Jamma D.
2015
HD video
dimensions variable
It’s a trip down Wilshire from the origin point (One Wilshire at 624 S. Grand) to the Ocean at sunset. Soundtrack from Jamma D.
One Wilshire, Los Angeles 1
2015
HD video
dimensions variable
A missive to the physical internet I never knew existed.
Additional archival footage courtesy of The Center for Land Use Interpretation. Audio includes PHORK’s “Looking For Raveland”. Special thanks to Steve Kado, Martine Syms, Alex Tyson, Karly Wildenhaus and Worldstar.
2015
HD video
dimensions variable
A missive to the physical internet I never knew existed.
Additional archival footage courtesy of The Center for Land Use Interpretation. Audio includes PHORK’s “Looking For Raveland”. Special thanks to Steve Kado, Martine Syms, Alex Tyson, Karly Wildenhaus and Worldstar.
James Baldwin #6
2014
72” x 24” x 1”
UV curable print on Plexiglas, gridwall panel, zip ties
2014
72” x 24” x 1”
UV curable print on Plexiglas, gridwall panel, zip ties
James Baldwin #1-#5
2014
dimensions variable
hd video
I want to add to the discourse of work around Baldwin and this is a poetic response to his oeuvre. Listening to Baldwin talking I felt he was speaking to me, imploring me to think, to change. As my contribution, I’m stripping away the image to underscore the natural effect the photograph has to condense and flatten time and show just how little has changed in 50 years.
2014
dimensions variable
hd video
I want to add to the discourse of work around Baldwin and this is a poetic response to his oeuvre. Listening to Baldwin talking I felt he was speaking to me, imploring me to think, to change. As my contribution, I’m stripping away the image to underscore the natural effect the photograph has to condense and flatten time and show just how little has changed in 50 years.
Timelapse 12
2014
HD video
dimensions variable
2014
HD video
dimensions variable
Timelapse 10
2014
HD video
dimensions variable
2014
HD video
dimensions variable
Timelapse 9
2014
HD video
dimensions variable
2014
HD video
dimensions variable
I want to be an honest man and a good writer. takes the starting point of the Lilium Oriental Stargazer, developed in Southern California in the 1970s. This selection of photographs and timelapse films of Lilies opening and dying deal with the hybridization of media (and mediums) and the commercialization, packaging and sale of everyday rituals. Initially focused on aesthetic reduction this body of work moved, with time, toward a more nuanced study of creative labor–its commodification and exploitation.
The works on monitors use timelapse photography to speed up the slow stretching and growing lilies make over days into a few short minutes. This intimate experience placidly shows these flowers as dynamic, growing objects. The second set of works is a series of photographs taken from overhead of lilies in the newspapers they were wrapped in, with other ephemera from the studio. The 3 photographs are printed directly onto Plexiglas and attached to the wall using commercial sign brackets. This presentation allows the ink to float on the surface of the Plexiglas and over time eventually fade like the newsprint the flowers are wrapped in.
The works on monitors use timelapse photography to speed up the slow stretching and growing lilies make over days into a few short minutes. This intimate experience placidly shows these flowers as dynamic, growing objects. The second set of works is a series of photographs taken from overhead of lilies in the newspapers they were wrapped in, with other ephemera from the studio. The 3 photographs are printed directly onto Plexiglas and attached to the wall using commercial sign brackets. This presentation allows the ink to float on the surface of the Plexiglas and over time eventually fade like the newsprint the flowers are wrapped in.
* exhibition *
I want to be an honest man and a good writer.
Document
2014
I want to be an honest man and a good writer.
Document
2014
marathon
2011
SD video
dimensions variable
2011
SD video
dimensions variable
American Hospital Supply Corporation
2007
digital inkjet print
20″ x 30″
2007
digital inkjet print
20″ x 30″
Infinity Plane
2007
gypsum board, wood, drywall joint compound
dimensions variable
2007
gypsum board, wood, drywall joint compound
dimensions variable
Stately Plump Buck,
2007
cotton, thread, hardware
80” x 60”
The first three words of Ulysses by James Joyce.
2007
cotton, thread, hardware
80” x 60”
The first three words of Ulysses by James Joyce.
The First Words Spoken By Man
2007
photocopy
60” x 40”
2007
photocopy
60” x 40”