and we all came in together
Immersive microscope-based installation (2013)
Microtext-printed slides, microscope, text, HD video, projection, found images
The immersive installation and we all came in together utilizes new digital media, analogue technologies, video, objects, found images and discovered stories to reflect New Yorkers’ ongoing relationship with the city, exploring celebration as memory and its meaning defined through the interaction of people. With the artist’s appropriation of microtext printing (more commonly seen as a security feature on twenty dollar bills), the core component is a
microscope-based installation with twelve microtext stories and projections, as the work vies between scale and perspective through which participants discover miniscule elements.
The piece is inspired by memories collected from New Yorkers who have known the city for five decades or more, memories then transformed by the artist into twelve New York City stories. These include traveling from New York for The March on Washington, the spontaneous Times Square celebration on VE day as news travelled across Manhattan that war in Europe was over, of going AWOL to visit loved ones in Brooklyn, the accolade of an ‘untouchable’, and the story of an old lady forever mistaken for ‘Katherine Hepburn on a bike’. Through these memories the work explores themes of migration, celebrity, tradition, the communal element of this city, and the city as a place of sanctuary.
This work was commissioned by the New York City-based Center for Faith & Work. At the premier of the new work, visitors were invited to search for micro-stories on the gallery walls, and a limited edition of microscope slides signed by the artist and containing one of twelve stories, were given away.
Immersive microscope-based installation (2013)
Microtext-printed slides, microscope, text, HD video, projection, found images
The immersive installation and we all came in together utilizes new digital media, analogue technologies, video, objects, found images and discovered stories to reflect New Yorkers’ ongoing relationship with the city, exploring celebration as memory and its meaning defined through the interaction of people. With the artist’s appropriation of microtext printing (more commonly seen as a security feature on twenty dollar bills), the core component is a
microscope-based installation with twelve microtext stories and projections, as the work vies between scale and perspective through which participants discover miniscule elements.
The piece is inspired by memories collected from New Yorkers who have known the city for five decades or more, memories then transformed by the artist into twelve New York City stories. These include traveling from New York for The March on Washington, the spontaneous Times Square celebration on VE day as news travelled across Manhattan that war in Europe was over, of going AWOL to visit loved ones in Brooklyn, the accolade of an ‘untouchable’, and the story of an old lady forever mistaken for ‘Katherine Hepburn on a bike’. Through these memories the work explores themes of migration, celebrity, tradition, the communal element of this city, and the city as a place of sanctuary.
This work was commissioned by the New York City-based Center for Faith & Work. At the premier of the new work, visitors were invited to search for micro-stories on the gallery walls, and a limited edition of microscope slides signed by the artist and containing one of twelve stories, were given away.
