The assemblage of object, light, and moving image proffers a sensorial atmosphere and asks what aesthetics and illusion can do. Material translucency plays a pivotal role in expressing qualities of “the beyond” that I am interested in, as well as the poetics of atmosphere. My research-based practice submits itself to the imperceptible geo, bio, techno and cosmic forces of the universe and seeks to shed light, literally, on the indiscernible qualities of what’s between the subject, the object and the experience. From the micro to the macro I want to draw connections that haven’t had a chance. I am exploring technologies and methods of extraction and pushing for equilibrium through experience. The poetics of association– human’s innate need to interpret– add and detract from the work.
Eric Millikin is a conceptual activist new media artist, using techniques like artificial intelligence, interactive video projection, augmented and virtual reality, bio art, sound art, occult experiments, and dark humor to address his research into topics like global COVID-19 pandemic, police brutality, economic injustice, and the use of fear in mass media and political propaganda. Now based in Detroit, Michigan, and Richmond, Virginia, Millikin comes from a working-class family, growing up in a mobile home in rural Michigan, the son of a laid-off auto worker and a Denny’s waitress. He brings a wide range of experiences to his work, including as a human anatomy lab technician, theatrical sound and lighting designer, industrial musician, alternative visual journalist, and descendant of Salem Witch Trial victims. Millikin often explores the intersections of art, science, and the occult, what anthropologist Claude Levi-Strauss describes as how ’’Art lies half-way between scientific knowledge and mythical or magical thought,” science fiction writer Arthur C. Clarke describes as how “Any sufficiently advanced technology is indistinguishable from magic,” and artist Takashi Murakami describes as how “An artist is a necromancer.”
I am an artist mostly working in sound. My current practice explores queerness, movement, motion capture, and composing data into sound. I am interested more specifically in the ways queer bodies take up and disrupt space. I am using data gathered from motion capture sensors focused or attached to queer bodies, including my own, to look at moments of comfort or discomfort in various spaces. From there I am using 3d audio techniques to strive to sonically create a liminal space between the site where the motion originated and where the installation is presented.
Bella Kubo is an interdisciplinary artist from Detroit, Michigan. Kubo uses video, sculpture, sound, performance, and installation to investigate and recontextualize comforts in the mundane. She is particularly interested in the concept of the home as a habitat. Kubo believes this notion specifies one’s environment, the state of one’s environment, one’s species, and one’s relationship to their environment. Being someone who has relocated and moved throughout their entire life, Kubo is constantly analyzing and questioning the importance of place.
Chad Mundie (b. 1996, Fredericksburg, VA) works with video and sculpture to build dreamlike domestic scenes and assemblages that look to subvert the icon of the suburban home and the illusion of a perfect American life. An intruder living within the walls of a home plays cat and mouse with the unsuspecting owner, A plume of smoke rises from the shower drain, a man unbuttons his shirt to reveal a window. Through his practice he explores the boundaries of space, family, adolescence, memory, gaze, and tradition.
maker and poet
I compose and animate light, space and sound with public and personal archive material. I take Black aesthetics, embellish them with Black things, pull aesthetics apart, and reimagine Black citing the miraculous of the mundane. The composite icons are made and shared as sketches of sonic memory and vernacular acts of care.