• The performance transforms the gallery into a living stage where narrative and audience converge in cycles of tragedy, resistance, and catharsis.

• This work merges classical narrative with digital distortion to bring classical themes into a contemporary context.

• Recasts ancient Greek tragedy as an ongoing commentary on fate, defiance, and the endurance of

Dual projections envelop the space—one cast upon the wall, the other unfolding beneath viewers’ feet. This configuration evokes the architecture of classical theater, where stage and curtain blur into a shared realm of spectacle and reflection. As visitors move through the environment, their shadows and footsteps become part of the narrative fabric, dissolving the line between observer and participant.

The installation explores the inescapable cycles of fate and systemic constraint that persist from antiquity to the present day. The female figure, echoing Antigone, embodies vulnerability and defiance; her multiple deaths restage the impossibility of escaping inherited structures of power. Each playback magnifies distortion—pixelated beauty born from technological failure—tracing the dissolution of identity beneath layers of digital noise.

A recurring curtain motif merges endings and beginnings, symbolizing the eternal return of tragedy. The work’s looping sequence transforms each act’s conclusion into a genesis for the next, reflecting the timeless recurrence of resistance and loss within human history.

Each re-recording of the performance intensifies its deterioration—colors shifting from saturated reds to spectral blues and violets, as the central figure dissolves into abstraction. The reversed, isolated audio further erases human presence, mirroring the protagonist’s fading selfhood. This cumulative breakdown becomes both an aesthetic and emotional descent, echoing the erosion of voice and agency across time and technology.

KEY ELEMENTS:

• Suspended Feathers – Feathers collected onsite hang from birch branches, framing the installation like poetic proscenium arches.

• Sculptural Bird Claws – Cast in plaster, hand-painted, and embedded among roots and stones, the claws convey the tension between flight and earthbound constraint—echoing the intertwined fates of birds and dreamers.

• Welded Steel Forms – Jagged, interlocking metal structures encase fragments of tree trunks, recalling the rocks beneath a lighthouse and embodying the conflict between freedom and containment.

• Dried Rose Petals – Strung into winding pathways from the memorial to the park’s interior, the petals form symbolic flames that draw visitors toward the installation’s emotional center.

This installation invites viewers to emotionally and imaginatively reconnect with the O’Reilly Memorial site. By merging art and poetry, it reawakens a sense of presence within Boston’s Emerald Necklace, offering new ways to perceive its landscape through transformation and reflection.

Situated below the John Boyle O’Reilly monument, the work unfolds along a sculptural path that guides visitors from the memorial into the park’s natural terrain. This progression forms both a physical and sensory journey—an unfolding passage from monument to memory.

Drawing from O’Reilly’s poems “A Tragedy” and “The Cry of the Dreamer”, the installation translates avian symbolism into sculptural form. One bird is drawn fatally to a lighthouse flame, the other ascends freely as a falcon—metaphors for longing, aspiration, fragility, and the cost of idealism.

During the live presentation, the artist fused steel “rock” sculptures onto a skull form while seated within the installation. This act embodied artistic introspection—a meditative exploration of creation, vulnerability, and the continuous pursuit of vision.

• Glitch as Glitter: Pink-saturated images and sparkling visual noise collide in a lush palette where glamour merges with decay, and allure becomes collapse.

• Random Sequencing: Video clips are algorithmically scrambled and reassembled, dissolving narrative structure, identity, and the promise of “happy endings” in endless, mesmerizing loops.

• Immersive Environment: The installation expands from desktop displays to a monumental thirteen-channel network, merging cinema projection with multiple computer monitors to affirm the omnipresence of media in daily life.

• Montage and Fragmentation: Audio-visual collages disrupt distinctions between reality and simulation, immersing viewers in the uncanny beauty and shifting boundaries of digital mediation.

Sublime Simulacra creates mesmerizing environments in which glitch shimmers and narrative falters—authenticity flickers in the unending glow of screens. Audiences are drawn into dark rooms illuminated only by a constellation of monitors and cinema projections, invited to experience the instability and allure found on the blurred boundary between reality and its seductive, simulated double.

Pink Noise unfolds as a four-screen installation inspired by the phrase “already dead and risen in advance.” Drawing from early Hollywood cinema, pop imagery, and glitch technology, the work merges scenes of cinematic femininity and horror tropes into a pink-saturated static. A looping refrain—“You should be in movies”—echoes throughout, functioning as both seduction and critique. Each presentation is algorithmically assembled into unpredictable, emotionally unresolved sequences that continually mutate, with layered canvases echoing onscreen chaos in tactile form.

Part Two: Theory Interrupted

Building on Pink Noise, Theory Interrupted transforms the concept into a vast thirteen-channel video and sound installation. Twelve looping desktop screens and a central cinematic projection flood the room, constructing an overwhelming environment that mirrors the omnipresence of media spectacle. Referencing Tiqqun’s Preliminary Materials for a Theory of the Young-Girl, works by Mangold and Kaysen, and the artist’s lived experience, the installation suggests that media shapes identity, circulating and dissolving the self in its simulated architecture.