WINDOWED ROOM: A stage-like overlook with an elevated on the platform reveals a real-life picture plane: six glowing windows at the far end of the enormous room with a forest of tarnished, wooden columns in-between. Utilizing two 90-foot faux walls positioned at a forced perspective and nine faux columns clustered in the farther half of the room, the windows appeared farther away than reality. A real-time sound installation was finally fully audible at the windows themselves, echoing a cacophony of footsteps recorded minutes ago from beneath the platform, snippets of dialogue from our travels between Buffalo and Brooklyn, and a simple guitar solo.
WHITE ROOM: Here, the only sources of light were from videos playing on projection screens that were leaning, like cumbersome paintings, throughout the space. As the projections flickered, the room slowly revealed itself while viewers' bodies blocked the projection light, their shadows mimicking the towering columns. The videos themselves were composite weaves of local performances, research documentation, and leisure time in and around Buffalo since the onsite of this project, exploring the effect repeated stays in Buffalo had on the Patricia and my relationships with our families, each other, and ourselves.
