Vaughan W. O’Connor
DRONE METHODS: PSYCHOGEOGRAPHY
Drone Mapping, 2017
My use of the drone traces the psychogeography of aerial space: of the interaction between terrestrial and vertical geographies. For instance the accumulation of GPS traces over abandoned buildings and tree canopies here speaks as to a paranoia of the drones conspicuousness from the ground. The glut of tracks between the derelict Fort Jay, Castle Williams and connective Colonel’s Row speaks of both a fascination with the textural quality of these ruined spaces, but also, their lack of police and security patrols.
This space adjoins the algorithmic geofence which divides Governors Island: an invisible no-fly zone that supposedly separates drones from the numerous helicopter pads of Wall street. Such divisions remind us that drones are an emerging player in the aerial life of New York city, a place well versed in the power relations of verticality.
Through my research-led practice, I am interested in gestures which acknowledge the complex entanglement of media art and military visualisation. Through my work, I explore the conditions of visibility, orientation and disorientation that span military and aesthetic fields of enquiry.
Kim Burgas and D. Schmüdde
August 6 – 27
An immersive, interactive experience created to explore unconscious interactions among strangers. Taking place in a darkened space, projected figures emerge from the blackness while the soundscape shifts based on the number of people in the area. The experience of “Borderless IV” walks the line between calming familiarity and unnerving disassociation. The normally trivial act of navigating a space suddenly becomes a conscious effort of exploration. A single viewer in our environment witnesses the strained movement of those depicted in the projected motion picture. As more people enter the area, the sound design changes and the viewers find themselves navigating the darkness and one another.
Coherence and Incoherence
Holographic 3D/2D Collage
August 6-27, 2017
Sunday August 6, opening reception 2-4pm with artist introduction of exhibition at 2:30pm
Coherence and Incoherence is an exhibition of collages which combine holograms with graphic art and paintings. Holographic 3D elements float in space in front of a 2D graphic structures. Different mixed colors can be seen, which are in general not existent in usual holography with its pure spectral colors.
The title of this piece takes its name from the myth of Ameinias, a youth who killed himself on Narcissus’ doorstep after being rejected, using a sword given to him by his arrogant lover. Narcissus ignored the boy until he died, forced to confront him with no hope of bringing him back. This installation explores what it is to be young in an age where you cannot see yourself growing old, and the overwhelming anxiety that comes with total awareness. Paper airplanes appear frozen on a collision course. Loosely suspended garbage will inevitably all fall to the floor.
A door is in the midst of opening.
The Depths Within
July 14-23 with artist talk July 22 @2:30pm
exhibition of holograms created with the Center for the Holographic Arts pulse laser at Ohio State University
Jacci Delaney is currently an artist and lecturer living in Columbus, OH. She works with glass, holograms, found objects, and light. Her work focuses on showing humans triumphing over loss and tragedy. She enjoys experimenting with new techniques and unusual ways to make art. Along with being a practicing artist, she is a lecturer at The Ohio State University co-teaching holography, an adjunct instructor at The Columbus College of Art and Design teaching glass, and an instructor at Glass Axis. She received her MFA in 2014 from The Ohio State University and she received her BFA and BA from Southern Illinois University Carbondale in 2008.
Mini Structures: 3d X-rays of oil cans
May 20 – July 4
This collection of x-rays reveals architecture in a surprising form: oil cans used to dispense oil for sewing machines, motors, and other mechanical devices.
The simple industrial shapes, which are purpose designed, reveal both similarities and elegant variations on a theme. They are accidental stupas, a typical Buddhist temple form found throughout Asia. Whitney, whose work often focuses on the “cosmology of architecture”, saw this collection of oil cans posted by an artist friend Allan Wexler on Instagram. He borrowed this collection and, using a stereo (3d) x-ray technique, he has transformed the simple oil cans, emphasizing their architectural form.
Hyper Diffraction Works II and The Coronas
June 2 – July 4
Installation of neon works viewed with diffraction grating glasses for a wild 3D experience.
My work is about light – neon, diffraction, holography. Sliding back and forth with video, installation and sculpture, my objective is to promote a swelling of the senses and to identify fields and forces around objects. My current research looks at extra sensory perceptions; psychometry (the spirit of objects) and tetrachromacy (the fourth cone).
The Coronas are a new body of neon work. Spanish for crown, corona also refers to the plasma around the sun. These pieces are in a shape akin to Lichtenstein’s 1962 “Viip” painting or 1967’s “Explosion.” They are based out of a recurring drawings about exciting ideas or events.