PROJECTS > Movement In Place

Movement In Place
Movement In Place

Movement in Place
Two-channel video installation
HD video, 16:9, loop (8-sec. clip)
Sound, in collaboration with musician Mark Baker
InLight Richmond 2016, Richmond, VA
November 12, 2016

Total projection is minimum 35’ x 100’ in size. Both videos are projected together onto the exterior wall of the Alket Electric Building located in the Scott’s Addition neighborhood of Richmond, Virginia. Movement in Place is a site specific work created for InLight Richmond, a juried light-based art and performance exhibition that invites artists to respond to a particular neighborhood, attracting audiences to unique areas of the city. The juror for InLight Richmond 2016 is Ellina Kevorkian, Artistic Director of Residency Programs at Bemis Center for Contemporary Art.

Scott's Addition
The story of Scott’s Addition is one of crossroads and transactions, of juxtapositions and change; a story as complex as its namesake General Winfield Scott, a general in the War of 1812 who married Maria Mayo of Richmond. Maria’s dowry included a portion of the Hermitage Estate—an area that includes modern day Scott’s Addition. Today it is an industrial, commercial, and residential neighborhood bordered to the south by Broad Street and to the east by the Boulevard. The area is marked by auto shops, painting companies, architecture and design firms, art nonprofits and restaurants. Aging warehouses suggest past industries and point to the central location of Scott’s Addition along Richmond’s historic transportation routes. The rise of craft breweries and the conversion of old structures into new apartments indicate a revitalizing moment for the city.

Historical, cultural and architectural images relating to Scott’s Addition’s changing narrative, spanning from the 1800’s to present, are layered and played on a continuous loop while a figure in shadow uses sand to fill and transform the projection space. The images begin with slow, dreamlike vignettes that get partially swept out of the scene, and are then refilled with increasingly frenetic movements within the same space. Eventually, the figure in the foreground is subsumed into the background as the images move toward the present.

The movement of sand is a poetic device suggesting that time takes shape through gestures of labor. This repetitive performance embodies the theory that a sense of place is created and recreated through cultural movements.