Work - C. Jacqueline Wood

The work examines the role of the photograph(er) in souvenir culture, by elevating the standard vacation memento to art object. Does the placement of a postcard in a gallery, rather than a gas station, change the photographer’s role as artist?

The 40 postcard images were crowdsourced from the community and map the changes of the facade of 2940 Colerain Ave. over time. Ranging from professional photographers, to prior owners and sourced public records, the images are on display in the gallery that now occupies the building, which was originally built as a fire station in 1900. The work is intended to make the viewer hyper-aware of the history of the exact spot in which they are standing, but also examine how one subject (the building) is documented over time from different perspectives with changing technologies.

The collection of postcards, which viewers are welcome to pick up and buy, ultimately serve their intended purpose: as a souvenir of an experience. The experience though, is not just viewing the work and show in which it is a part of, but as a memento of the purchasing process.

Loop (Cost vs. Worth) intends to draw attention to the art market by giving the viewer the opportunity to only buy these souvenir postcards, but to determine their price. 

The buying of art often feels unattainable, but by having the buyer determine the cost, the art marketplace is more widely accessible to people of all socio-economic backgrounds. The work is intended to draw attention to the economy of the object, and not let the artist or the market to determine the price, but the buyer. The purchasing process asks the buyer to consider the idea of worth, while taking the cost of production into account (84 cents per postcard), as well as the time and energy spent in the work’s creation.  The transaction also calls attention to the many people who are responsible for the card’s existence and exhibition (the artist, the photographer, the gallery) and asks the viewer to determine the percentage of the purchase price should go to each party. 

The buyer of the card will then receive their card in the mail, as a souvenir of their experience of both viewing and buying the work. Loop (Cost vs. Worth) is a throwback to the use of print material as a means of recollection, rather than the intangible digital stream of social media. 

Once the show has closed, the allotted amounts will be paid to each individual photographer, as well as the artist and gallery. Scans of each postcard (as evidence of purchase) will live on the artist’s website as documentation of each performative transaction.

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Social Medium

Wave Pool Gallery (Cincinnati, Ohio)

September 15th - November 10th, 2018

http://www.wavepoolgallery.org/social-medium

video installation, 7:45 minute loop

Constructed landscapes. Simply paper and light. 

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Altered Views: Experiencing the Contemporary Landscape

May 25th 2018 - July 27th, 2018

Lexington Art League, Lexington KY

http://www.lexingtonartleague.org/altered-views.html

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CLICK HERE TO WATCH CLIP

May 4th - June 10th, 2018

Weston Art Gallery (Cincinnati, Ohio)

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What Makes a Life is a series of interconnected installations about information. As the digital is becoming the norm and analog is disappearing, the way we capture, store, access, and consume media is also shifting. What Makes a Life questions how this shift affects identity, belief systems, communication, visual culture, and the creation of personal and collective histories.

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https://www.cincinnatiarts.org/weston-art-gallery/exhibitions/detail/c-jacqueline-wood-what-makes-a-life

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CLICK TO WATCH SHOW DOCUMENTATION

CLICK HERE TO WATCH CLIP OF “Color Transparency”

5-channel video installation, silent, 3.5 min loop

suddenly the silence had turned utilizes multiple screens and staggered sequencing to create an undulating rhythm.  The untrained dancer is literally flipped upside down to subvert the viewer’s perspective in order to uncover new forms and patterns of movement. The work turns the familiar body into an unexpected form through isolation, reverse motion, and offset timing.  The work was initially edited to a musical soundtrack, which was then erased, creating rhythm through editing. suddenly the silence had turned is an experiment in screen dance that utilizes the architecture of PUPP to play with the layering of images and create a wave of motion. The image sequencing also switches from left to right and between forward motion and reverse motion to manipulate spatial and temporal orientation in order to further examine the flow between screens. The work utilizes very simple editing techniques to explore movements of the human body in a new and innovative way. 

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Winner, Alumni Category, 3CS (Third Century Screens)/Pop-Up Projection Pavilion - Ann Arbor, MI - 2017

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CLICK HERE TO WATCH VIDEO

SHINE used crowd-sourced imagery to capture the most universal of all subjects: the sun. The video installation was created from a composite of these images, essentially presenting one moment in time from multiple perspectives.

The project capitalized on social media and the prevalence of cell phone cameras to “democratize” the art-making process. Greater Cincinnati and Northern Kentucky residents were invited to contribute photographs, and all images of any quality were accepted, including both digital and analogue submissions. The project was founded on the principle that everyone is an artist and it is our goal to empower as many individuals as possible to share their visual story.

With the help of ArtWorks apprentices as part of the City Shine summer project, imagery was collected prior to the installation, resulting in photos and video that each represent one day in time. This content was used in the outdoor projection. Essentially, the work is a community mapping project, engaging all residents and uniting our city through the art-making process.

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CLICK HERE TO WATCH INSTALLATION DOCUMENTATION

video installation/audio cassette recording, 7 min. loop

A collection of moving pictures

Found audio recordings of my grandfather, John R. Wood (1915-2000) reciting lines from The Rime of the Ancient Mariner (1798) by Samuel Taylor Coleridge

Exploring the relationship between photography, video, and narrative

Seafaring ancestors

Winds and waves

One of the earliest voice recordings, Au Clair de la Lune (By the Light of the Moon) (1860)

Storytelling

Appropriated audio recording, Indian Ocean Waves on the Beach at Nature’s Valley, South Africa (youtube.com)

Searching for horizon lines

Searching for my own horizon lines

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CLICK TO WATCH VIDEO

one channel video installation, frame

A work exploring the duality between the digital and the tangible. Two congruent frames at hand. A light slowly scans. A shadow steadily casts. The moving image forms ascending horizon lines and impressionistic landscapes. The adjacent frame remains still, while encapsulating the scanned object. We are left in the center. Pushing. Pulling.

Contemplating object-hood in the current mediascape .

This Line Has History uses light, balance, gradation, and abstraction to examine the role of material in the digital age.

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Medium: Tech, C-Link Gallery, Brazee Street Studios, Cincinnati, OH (2017)

10 Under 40, Chelsea River Gallery, Chelsea, MI (2012)

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CLICK HERE TO WATCH INSTALL DOCUMENTATION

CLICK HERE TO WATCH VIDEO CLIP

Multi-Screen Slide Projector Installation

Work•Ann Arbor, Ann Arbor, MI

Collaboration with Oren Goldenberg

ARTPRIZE 2010

Thirty four screens hang twenty feet in the air. creating a moving projection screen. At night, a projection from fives stories up, through the rear projection fabric of archival maps of the location in which the work was installed (Grand Rapids).  Creating a new space, using artifacts of the past, evoking the a ghostly connection to the very space the viewers stand. 

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CLICK HERE TO WATCH INSTALLATION DOCUMENTATION (AFTER THE STORM)

Guidance in The Art of Flower Arrangement explores the filmmaker’s relationship with her grandmother, whose background in design thrived despite the onset of dementia. Recorded over a period of six years, the work utilizes visual principles used in flower arrangement as a structuring method, resulting in an interwoven portrait of life and loss.

CLICK HERE TO WATCH CLIP

Cutting. Passage of dead Images to living images. Everything blossoms afresh. (2017) 1.5 min.

Made for:

TWO TRUTHS: NOTES ON THE CINEMATOGRAPHER is an avant-garde mixed media mashup of Robert Bresson’s celebrated book on film making. Audiences will choose between pairings of notes that probe the dividing line between film and theatre. For each note selected by the audience, a film or live scene created in response to that note will be shown. Every show will be different and every audience will have the opportunity to create a unique performance experience. Performed during Cincy Fringe Festival 2017.

Music used without permission.

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CLICK TO WATCH VIDEO

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WORK by C. Jacqueline Wood

projectplane.com

slide projector installation

A slide projector installation composed of 80 images. Each slide derives from found vacuumated acetate filmstrip material. The work pays homage to the  lifespan of  celluloid;  highlighting the chemical breakdown of film, while celebrating the beauty of decay. The installation adopts certain exhibition/ viewing conventions of painting, yet counters stillness through the constant interchange of color and texture.

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Golden Ticket, Clifton Cultural Arts Center, Cincinnati, OH (2012)

Ann Arbor Art Center, Intermission (2010)

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CLICK HERE TO WATCH CLIP

Collaboration w/ Kate Clark & Ben Love OX-BOW AT WORK, Saugatuck, MI

A collaborative work using multiple sculptural elements inspired by the themes of a D. H. Lawrence poem.

The primary structure utilizes a pin-hole technique, as viewers peer  into a mysterious nautical world, centered around a found canoe skeleton.

CLICK HERE TO WATCH VIDEO

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AFTER ALL THE TRAGEDIES ARE OVER--

After all the tragedies are over and worn out and a man can no longer feel heroic about being a Hamlet--

When love is gone, and desire is dead, and tragedy has left the heart then grief and pain go too, withdrawing from the heart and leaving strange cold stretches of sand.

So a man no longer knows his own heart; he might say into the twilight: What is it? I am here, yet m y heart is bare and utterly empty. I have passed from existence, I feel nothing any more. I am a nonentity.- -

Yet, when the time has come to be nothing, how good it is to be nothing! a waste expanse of nothing, like wide foreshores where not a ripple is left and the sea is lost in the lapse of the lowest of tides.

Ah, when I have seen myself left by life, left nothing!

Yet, even waste, grey foreshores, sand, and sorry far out clay are sea-bread still, through their hour of bare denuding.

It is the moon that turns the tides. The beaches can do nothing about it.

-D.H. Lawrence (Pansies, 1929)

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CLICK HERE TO WATCH CLIP

18 min. loop, nine-channel video 1482 N. Milwaukee, Chicago IL May 2-3, 2008

A site-specific video installation, using multiple projectors to  illuminate a now demolished building in the Wicker Park neighborhood of Chicago. All the footage derives from the surrounding space, and the silhouettes represent how the physical body absorbs the urban environment.

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CLICK HERE TO WATCH INSTALLATION DOCUMENTATION

Womb Experiment (2006)

22 min., nine video projectors

Angell Hall Planetarium, UM Campus, April 24, 2006

A disjointed, yet synced, 360-degree image with nine projectors, utilizing the architecture of the planetarium to envelop the viewer.

With sound by Tom Meluch, and performers from the University of Michigan Dance Department, the work uses fetal development as a structuring device to create a womb-like atmosphere.

CLICK HERE TO WATCH INSTALLATION DOCUMENTATION

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Home/Life Experiment/Performance (2006)

3 hours, 8 channel video installation 205 N. Division, Ann Arbor, MI April 13, 2006

An exploration of the relationship between the physical body, architecture, and the internalized understanding of home. The work projects images of domestic spaces onto the windows of the artist's actual home.

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Preservation Experiment (Frieze Frame) (2006)

multi-channel video installation Frieze Building, Ann Arbor, MI

A celebration of the historic Frieze Building before it was demolished. With both audio and visual contributions from the community, and sound compiled by Heather Radke, Frieze Frame projected archival images of the building onto its facade. The work created a space for viewers to reflect on the personal and collective experience of a long-standing architectural landmark that was soon to disappear.

CLICK HERE TO WATCH INSTALLATION DOCUMENTATION

I Will Always Love You (2012)

nine-channel video installation Encore Records, Ann Arbor, MI

ANN ARBOR FILM FESTIVAL 50 SCREENS

March 9th-April 1st, 2012

CLICK HERE TO WATCH CLIP

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Heart and Heart and Heart (2010)

single channel video installation

F*** You... I Love You , The Mockbee, Cincinnati, OH, November 2010

The work involves the cultural love/hate relation ship that society has with changing technologies. The simple heartbeat of the video represents the "life" of video technology as well as the lifespan of the machine it it shown on. The short clip was dubbed over and over using a VHS player and tapes. The image slowly disintegrates due to the generational loss caused by the dubbing process. The heart beat loses color and shape, ultimately fracturing and disappearing.

CLICK HERE TO WATCH CLIP

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To the Lady in the Middle (2010)

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Blue Green (2007-2011)

5 min. loop, single channel video

A short work examining the setting sun using an in-camera-edit transitioning technique. The aesthetic evokes the ethereaI quality of nature, experimenting with the interact ion between sunlight and the mechanics of the camera lens.

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Paradise Lost (2006)

30 min. loop, three channel video/slides, B.E.R.M.U.D.A "A New Mufti-Media Event Showcasing the Vanguard of the Art Universe" National Bohemian Home, Detroit, MI, June 2006

Found slide projector images of a 1960's Hawaiian vacation superimpose archival maps of Detroit. As the maps slowly scroll in various directions, the tropical imagery overlaps the urban landscape. The work celebrates the Detroit art community.
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Untitled Train Installation (2005)

20 min. loop, two channel video Bandamer Park, Ann Arbor, MI, December 2005

An installation located at a cross-section of movement and transportation, using imagery from the surrounding space to comment on the ever-changing landscape. The work uses a passing train as a projection surface to explore the ephemerality of the art experience.

CLICK HERE TO WATCH CLIP

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Ticker (2004)

2.5 hour loop, single channel video RX Gallery San Francisco, CA

Atmosphere Re/View Gallery Show, Spring 2004

A work treating the television ticker as material. The moving text weaves together to comment on the constant bombardment of information emitted by television news.

CLICK HERE TO WATCH CLIP

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Untitled Triptych (2004)

.5 min loop, video, three channel Edible Rex Film Festival

Arbor Vitae, Ann Arbor, MI, Fall 2004

A generational look at man's relation ship to nature through nostalgia, media, and play.

Timecode Break

CLICK HERE TO WATCH

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A Seismic Flutter (2005)

15 min., single channel video

AWARDED: Best Experimental Work, Lightworks Festival University of Michigan, Winter 2005

A video in six parts. The work uses various aesthetic strategies, such as animation, documentary, and abstraction, to explore issues concerning appearance and identity.

Sound by Elliot Bergman.

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Nicholas Flies (2005)

3 min., super-8, video Honorable Mention, Lightworks Festival

University of Michigan, Winter 2005

The video uses animation techniques to superimpose bird wings onto super-8 footage of a young boy. The creaking sounds and grainy black and white aesthetic establishes a dark tone, yet light prevails when the following poem concludes the work.

He said, "Come to the Edge." I said, "I can't. I'm afraid." He said, "Come to the Edge." I said, "I can't. I'll fall off."

He said, finally, "Come to the Edge." And I came to the Edge.

And he pushed me. And I flew.

- -Guillaume Apollinaire (1880-1918)

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im/perfect (2004)

2 min., single channel video

AWARDED: Best Introspective Work, Lightworks Festival University of Michigan, Winter 2004 A short portrait looking at the acceptance of physical imperfections.

The following poem serves as soundtrack.

Besides the gracefully thin face, the extraordinarily elegant figure, the wonderful outline of the ears, of the straight small nose, so very refined, My heart "took" in also this that she always held her head a little bent down -­ which, together with the contour of the breast and back, formed a fascinating line to me. ''A gazelle drinking." I believe the chief fascination consisted in her movements, magically light. And yet the supreme, the final fascination to me, was in her soul.

Swing House Ephemera (Video)

2014-2018

Video & Found Home Movies

Mark de Jong

Swing House

April 20 through September 03, 2018

(Contemporary Art Center, Cincinnati, Ohio)

This collection of video displays and diptychs offer glimpses into the process of making and performing Swing House. They seamlessly marry snippets of construction documentation, including moving one of the primary steel beams into the structure, with more meditative episodes of de Jong traveling up, down and around the central staircase. In the process, in the many steps that de Jong takes in the remaking of this house into a work of art, the stairs transition from pragmatic device into performative object. The projected video highlights a short, but surreal extract from the home movies de Jong found in the house where a burning home becomes the source of popular entertainment and symbolic unrest.

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https://vimeo.com/316483767

https://vimeo.com/316482526

https://vimeo.com/316481718

https://vimeo.com/316480874

https://vimeo.com/316480554