My practice has recently shifted toward an anti-technological method of art making due to the subject matter of my work. Speaking to subject matter directly my work offers a critique of social media practices and the altered relationships they create through the use of Print Media and other physical animation methods. These physical animation methods call from many pre-cinema devices of which the Camera Obscura falls.

As for the device itself I feel that is most often falls in to the category of a stepping stone to the modern cinema experience. The purpose of the “STEREOBSCURA” project was to repurpose the Camera Obscura as an art object or performance itself. It is also important to note here that although the “STEREOBSCURA” is an object, the performance that was presented alongside it holds equal weight in the intention of the work. The performance (performed by Ned Bartlett and myself) mirrored the narrative that was the creation of the device. As one would enter the “STEREOBSCURA” both Ned and I would welcome them and seal the door. Then by the use of walkie-talkie I would order Ned to do different actions to “start” the “STEREOBSCURA”. What followed was a few minutes of bickering as we attempted to bring the projection into the room. Some of the “problems” encountered in the performance involved Ned attempting to fix things that are simply conventions of the medium. For example at one point we attempted to fix the image so it would no longer be upside down. This adjustment is possible (with the proper equipment), but was done to illustrate how the device works. After the performance portion was complete viewers were able to ask questions or request the image outside be changed by altering the placement of mirrors.