2013

On The Road
12 lenticular panels explore the cinematic narrative of politically and cultural charged cities such as Montreal, Rome, Athens, Istanbul and Jerusalem based on photographs taken during a one year trave in 1970-1971.

Pari Nadimi Gallery, Toronto (2013)




 

2012-2013



Swarm Vision
"Swarm Vision" an installation consisting of 3 cameras on rails that autonomously look around the gallery space for visual details of interest. 2 screens feature the results. The first shows what each camera sees, and the second is a 3D simulation scene overview that includes each cameras' location and the sum of images they each capture.

Siggraph, Anaheim(2013); "Drone", Mois de la Photo Festival, Vox Gallery, Montreal (2013); Run Run Shaw Centre, Hong Kong (2013)




  2012-2013

James Bay Cree Documentary Photography Repatriation 1973-2013
700 photographs taken in 1973 in northern Quebec are organized into 23 themes for an exhibition and publication representing the way of life of the James Bay Cree indigenous cultures at the start of their political negotiations over the James Bay Hydro-Electric project.




  2011

Voice of Sisyphus
A multimedia projection with 4 channel spatialized sound installation in which a black and white image is sonified by a computer program which synthesizes image segments and produces sounds resulting in a continuously evolving composition.

Edward Cella Gallery, Los Angeles (2011); Nature Morte Gallery, Berlin (2012); Beall Center for Art + Technology, UC Irvine (2013)




  2011

Slice
An animation that subdivides photographs from the Refraction Series into thin slices until reduced to abstraction and then reconstructs itself into a different image.

Edward Cella Gallery, Los Angeles (2011); Itau Cultual Institute, Sao Paulo (2012); Nature Morte Gallery, Berlin (2012); 21c Museum, Cincinnati (2012)




  2010-2011

Refraction
"Refraction" explores the cinematic narrative of the photographic image in a non-electronic form, the lenticular medium, a process in which multiple still photographs can be viewed sequentially through the change of the observers' viewing position.

Edward Cella Gallery, Los Angeles (2011); Nature Morte Gallery, Berlin (2012); 21c Museum, Cincinnati (2012); San Francisco Museum of Modern Art (2012)




  2009

Studies in ReTelling
"ReTelling" explores the synthesis of literary form and computer engineering in narrative construction inspired in part by the author Raymond Queneau's mutiple retelling of a simple story in "Exercises de Style" to explore how the positioning and scaling of images creates changes in meaning. Two screens continuously re-organize their images and at some point exchange them.

Shanghai eArts Beyond (2009)




  2008

Data Flow
A 3 screen realtime data visualization that features animations of aggregated data based on worldwide communication of CEB members featured on teh 23rd and 2th floor of the corporation's offices.

Corporate Executive Board, Arlington Virginia




  2008

We Are Stardust
An installation that reflects on the metaphorical nature of imaging technologies in the exploration of our environments. Two visualizations redraw with laser and infrared camera in the gallery the angle of views of sky observations by the sun orbiting Spitzer telescope since its launch in 2003.

Art Center College of Design (2008); Vancouver 2010 Winter Olympics (2010)




  2007

Blink
Full wall projection consists of a matrix of eyes that open and close based on their neighbor’s behaviors. Each eye's decision is dependent on statistically evaluating what its neighbor eyes are doing, dynamically calculated in realtime.

Nevada Museum of Art, Reno (2009); Edward Cella Gallery, Los Angeles (2009); Santa Barbara Museum of Art (2007); Artissima, Turin (2007); Pari Nadimi Gallery, Toronto (2006)




  2007

Cell Tango
An interactive installation that features a dynamically growing collection of cellphone images visually sequenced according to contributors' metadata and text tags.

The Museum, Kitchener, Ontario (2011); SOMarts, San Francisco (2011); Poznan Biennale (2010); Lawrence Hall of Science, Berkeley (2010); Wellesley College, Wellesley (2009); Beall Center for Art & Technology, Irvine (2009); East Michigan University, Ypsilanti (2008); National Theatre Poitiers Inauguration, France (2008); National Academy of Sciences, Washington (2007); Pari Nadimi Gallery, Toronto (2006); ISEA06, San Jose (2006)




  2006

Dynamic Modulations (proposal)
A large multiscreen display in the waiting room area of the OU Tulsa campus clinic hospital. The screens feature dynamically generated visualizations based on the movement of fish inside three tanks located in the entrance way.

Clinic Research Facility, University of Oklahoma, Tulsa




  2005

Kinetic Flow
Porcelain on Enamel visualization on a leaning 24' concrete wall above escalator unit at the entrance of the subway station. The design concept is to engage the kinetic experience of the pedestrians? move on both escalator and staircase, one smooth, the other sequential. The computer generated image is based on statistical data sampled from LA metro traffic circulation to seed the image generating equation. .

Vermont/Santa Monica Station entrance, Los Angeles MTA subway system




  2005-2014

Making Visible the Invisible
A data visualization installation of 6 plasma screens behind the main librarians' desk in the Mixing Chamber area of the library features visualizations that are based on statistical analyses of the circulation of non-fiction books catalogued according to the Dewey decimal system going in and out of the library's collection.

Center for Architecture, NYC (2009); Seattle Public Library (2005); University of Connecticut (2005); Telic Exchange, Los Angeles (2005);




  2003-2007

Pockets Full of Memories (extended)
Database installation in which the audience contributes a digitized image of an object in their possession with descriptions input through a questionnaire. The sum of the archive of objects is continuously re-organized on the large projection in the museum, positioning objects of similar descriptions near each other. The archive of objects can be viewed in the museum and accessed on the internet where the public can add comments to each object.

Dutch Electronic Arts Festival, Rotterdam (2003); Ars Electronica, Linz (2003); Aura, C3 Center for Culture & Communication, Budapest (2003); Museum of Contemporary Art Kiasma, Helsinki (2004); Cornerhouse Gallery, Manchester (2005); Frankfurt Museum of Communication (2006); Museum of Contemporary Art, Taipei (2007)



  2002-2005

Algorithmic Visualizations
Algorithmically generated visualizations begun in the mid 1980's with extended explorations of mathematical processes related to noise and randomness, emergence: adaptive algorithms, neural-net implementation, pattern matching, convolution, image coherence, perception, visual concepts, etc.

Philbrook Museum of Art, Tulsa, Oklahoma (2004); Telic Exchange, Los Angeles (2006); Santa Barbara Museum of Art (2007); Montserrrat Gallery, Salem, Mass (2012)




  2002

Chance Encounters
A computer generated installation featured on video displays at the 7th and Metro Subway station platforms in Los Angeles. The theme of the installation was the chance encounter potential of the subway environment, passengers' thoughts while waiting, and a collection of objects they might carry with them.

Los Angeles Metrorail Art Commission, Los Angeles




  2002

 

SensingSpeakingSpace
A large projected abstract image and a six channel ambient sound composition are continuously changing in subtle details, affected by the movement of the public in the exhibition space. Using motion sensing technology, the work addresses the poetics of presence, and narrative plot development through the acts of wiping away and bringing forth.

SFMOMA, San Francisco (2002); ISEA Festival Exhibition, Nagoya (2002); ARCO '06 BlackBox Invitational, Madrid (2006)




  2001

 

Pockets Full of Memories
Database installation in which the audience contributes to an archive by digitizing an image of an object in their possession. The sum of the archive of objects is continuously being organized by a Kohonen self-organizing map algorithm, positioning objects of similar descriptions near each other. The archive of objects is projected on a large gallery wall and accessed on the internet.

Centre Georges Pompidou, National Museum of Modern Art, Paris




  2000

 

Eternal Summer
4 plasma screens feature changing nature scenes with text juxtaposing stock quotations and personal messages collected from the internet. A commissioned work for the waiting room of the consulting office Ebner, Stolz and Partners, Stuttgart.

Ebner, Stolz & Partners office, Stuttgart




  1999

 

Rickmers Lobby Visualization Proposals
Visualizations for the Rickmers Headquarters Lobby in Hamburg. Left panel shows wall that lights up Rickmers global shipping routes in response to viewer movement.





  1999

 

Transitional Spaces
The movement of people passing through the entrance and hallway spaces of the Siemens headquarters architecture trigger narrative events seen on large screen projections within the spaces. Commissioned for the opening of the Siemens World Headquarters building in Munich, architecture by Richard Meier.

Rotunde, Siemens Kultur Programm, Siemens AG Headquarters, Munich




  1998

 

A Sense of Place
Objects in a large blurred image come into focus according to the audience's location and movement in front of it. The actions are recorded in a database and calculated to occasionally trigger transitions to an image of an urban place, accompanied by ambient sounds to create a sense of presence either in Beijing or Los Angeles.

Centre for Contemporary Art, Geneva (1998); Labyrinth, Annenberg Center, USC, Los Angeles (1999)




  1997

 

Tracing
A sensor controlled interactive installation with full wall projections on a two-sided wall positioned in the middle of the exhibition space. Two different sets of cultural data projected on the two sides of the screen wall express a cultural divide. The first screen features video scenes from the former Communist countries which are extracted by clicking on words in a letter, the other side features data culled from Californian techno-culture. Commissioned by the Kunst und Austellunghalle, Bonn, with a follow-up solo exhibition at MOCA, Los Angeles.

Kunst und Austellungshalle, Bonn (1997); MOCA, Los Angeles (1998)




  1996

 

Slippery Traces
An interactive installation and CD-ROM publication. A database of 250 postcards representing mid-20th Century global topics are organized into 25 chapters. By viewing one image at a time, and selecting a detail as the link to the next image, the viewer weaves a linear narrative suggestive of Robbe-Grillet's writing style as in the movie "Last Year at Marienbad" fused with the techno-aesthetics of "Blade Runner".

"Butterfly Effect", Muszarnok Kunsthalle, Budapest (1996); National Gallery of Contempory Art, Prague (1997); Palais des beaux-arts, Brussels; National Gallery of Canada (1997); Osnabrück European Media Festival; traveling in "Deep Storage" (Siemens): PS1, New York, Haus Der Kunst, Munich; Kunstforum, Berlin, Kunstmuseum, Düsseldorf (1998-2000); "Future Cinema", ZKM, Karlsruhe (2002); Banff Center in "Data Imaginary", Banff (2005); University of Toronto Gallery (2004)




  1994

 

[The Clearing]
A hunting image representing the Bosnian war crisis is subdivided into sections each holding clusters of news topics of the war during the 1993-1994 period. Viewers uncover the texts by rolling over the image. Published by base.arts, San Francisco.

New Langton Arts, San Francisco (1994); Postmasters Gallery, New York (1995); Berlin Video Festival; Fukui Video Biennale, Japan (1996)




  1993

 

An Anecdoted Archive from the Cold War
An installation work and CD-ROM publication that addresses the archive as multi-linear narrative and the intersection of personal and official documents in Stalinist Hungary. Over 60 stories and objects in the artist's possession are classified according to the floorplan of the former Hungarian Communist propaganda museum.

Yerba Buena Center for the Arts, San Francisco (1993); "Artifices 3", Université de Paris (1994); Centre Pompidou, Paris (1994); traveling in "Burning the Interface", Australia (1996-1998); Palais des beaux-arts, Brussels (1997), National Gallery of Canada (1997); and many others




  1992

 

Equivalents II
An interactive work that uses a 2D fractal mid-point synthesis algorithm to create organic abstract images shaped by text input by the user. All phrases contributed by users remain with the work and function as reference for the feedback process when words in the user's phrase are compared to those in the data pool. The project's title positions digital algorithmic design in relation to Alfred Stieglitz's 1922 project "Equivalents".

International Center for Photography, New York (1994); traveling in "Photography after Photography", Siemens Kultur Programm, Munich, ICA, Philadelphia; Henry Art Gallery, Seattle (1995-1997): Open Space Gallery, San Francisco (1996)





  1991

 

Between East & West
An installation on the theme of information exchange during the Cold War, with computer generated images produced by surveillance image processing algorithms. Image generating software were initiated through collaborative actions with a programmer in Hungary, near the end of the Socialist era.

YYZ Gallery, Toronto (1992); San Francisco Art Institute Gallery (1992)




  1986-1990

 

Noise-To-Signal
A series of investigations of image processing algorithms derived from space satellite and surveillance literature. The intention was to generate interesting processes by which to transform existing images, then later generating images purely from code. At that time, Chaos Theory, and Shannon's Information Theory were guiding factors directing the conceptualization of the work.

"Digital Photography", SF Cameraworks (1988); "Photography of Invention", National Museum of American Art, Smithsonian Museum, Washington DC (1989); Minneapolis College of Art & Design (1990)




  1985-2007

 

China in Transition
A photographic project of handpainted billboards focusing on multiple layers of socio-cultural narratives at the dawn of China's transition to a world oriented society in the aftermath of the Cultural Revolution. The billboards' subject matter were unusual in their juxtapositions of official Maoist propaganda, community education (Promotion of science, traffic rules, family planning, etc.), movie advertisements, and commercial advertising. many in English reaching out to an international business community.

Stiftung Ahlers Pro Arte Museum, Hanover (2008)




  1985

 

Posing Series
"Posing series" is made up of snapshots taken from two family photo albums dating from the 1960s. Thematic considerations in the project address cultural issues such as the complex signifying aspect of the photograph - the layering of meanings imbedded in the conventions of the pose, specifically gestural coding.

Lace, Los Angeles (1985); Yajima Gallery, Montreal (1986); National Gallery of Canada (1997)




  1984

 

Corporate Culture
"Corporate Culture", takes as its theme the complex multilayered encoding and staging of photographic portraiture, a form of communication that convey messages imbued with belief systems. These still-lives were influenced by studies in the staging of photographic portraiture in the 1981 EF. Hutton corporate annual report, a stock brokerage firm, and a photographic document of Mao Tse Tung pictures.

Yajima Gallery, Montreal (1986); San Francisco Art Institute Ethan McBean Gallery (1991)




  1979-1983

 

Still Lifes
A series of staged still-lives using found or made objects that address social, cultural and personal narratives. Still Lifes belongs to a group that include, among others, Everyday Stories, Image/Text Series, Theoretical Studies, and Object Narratives. These explore, within the framework of the photographic studio, the system of objects and its syntax in terms of their semantic relations.

PS1, New York (1981); Centre Pompidou , Paris (1982); Delahunty Gallery, NY (1983); La Jolla Museum of Contemporary Art (1984); Yajima Galerie, Montreal (1984); CEPA/Hallwalls, Buffalo (1984); Musée d'art contemporain, Montreal (1986); and others




  1979-1982

 

SX-70 Studies
SX-70 polaroids were created as quick sketch studies for large format staged studio compositions realized between 1978 to 1983. They functioned as a form of "warm up" exercises for producing the large format hand-tined series titled "Still Lives".




  1979-1980

 

Everyday Stories
The premise of the project was analytic in approach: to investigate through the ordering of objects in a photographic composition, the narrative potential and syntax by which images convey meaning. The material used for these compositions consisted of things lying around inside and outside the studio, a collection of odds and ends, plastic objects found at goodwill, detritus, etc

Forest City Gallery, London, Ontario




  1977

 

Syntax of the Copy
Sequences and variations of multiple layerings between an object, its fascimile, and the copy of the copy. An investigation into the encoding of meaning, the gain or loss of cultural information in the degrees of reproduction and their interactions.

Optica Gallery, Montreal




  1976-1980

 

Floating Objects
A series of photographs taken in construction sites across the American continent over a period of 4 years. The images are a result of formally composed events that were disrupted through the action of introducing a chance element. Construction sites were selected as staging grounds for these images because of their transitional status between nature and culture.

Yajima Gallery, Montreal; London Regional Art Gallery; Banff Centre Gallery, Alberta,




  1974-1980

 

Urban Nature
A series of photographic studies that explored the relation between order and chaos in visual compositions, a precursor to my later interest in Claude Shannon´s Information Theory. The approach consisted of studying the visual relationship of cluttered, banal and uneventful subject matter (a form of noise) in real space and to orchestrate the subject matter to achieve a formal balance.

Canadian Museum of Contemporary Photography, Ottawa and others




  1975

 

Catalogue of Found Objects
A work that addresses the semiotics of objects and systems of classification. A vacant San Francisco lot was sampled like an archaeological excavation site resulting in a collection of cast-off objects found on the site. The artifacts were then classified and catalogued against the same backdrop using juxtapositions and repetition to reveal similarities and differences.

La Mamelle Art Center, San Francisco; Canadian Museum of Contemporary Photography, Ottawa




  1973

 

James Bay Cree Documentary
A photographic document of everyday life in 4 James Bay Cree Indian coastal settlements in sub-arctic Canada at the time of their legal battle against the James Bay Hydro-Electric Corporation, resulting in an archive of 2800 images that represented a personalized but systematic documentation of Cree indigenous culture: rituals, housing, hunting, people, interaction with nature, the transition to Western ways, etc.

Baldwin St Gallery of Photography, Toronto; Rupert's House, James Bay; Canadian Museum of Contemporary Photography, Ottawa; Akwesasne Notes publication