Wednesday, October 21, 2009

LIKENESS Video Series: Paul DeMarinis

Today's installment in the LIKENESS Video Series (produced with love by MF Danny) comes from Paul DeMarinis, an artist who has been working in electronic media since 1971. Much of his work involves speech processed and synthesized by computers. In his LIKENESS piece, Dust, Paul utilizes a diverse selection of materials to create a unique and moving experience.

Dust, 2009 (4th Floor)
computer, video projector, photoluminescent powder, bass speaker
LIKENESS Exhibition - Through March 21, 2010

Paul DeMarinis has been working in the arts for several decades and subsequently has produced numerous performance works, sound and computer installations, as well as interactive electronic inventions. DeMarinis’s subtle and magical works display an intersection of tradition and progress, often motivated to cover an expanse of subjects and themes. Today we hear the term multidisciplinary! It is indeed an accurate one to describe Paul DeMarinis. Although the majority of his productions fall within the realm of art, he is also a historian, an experimenter, a chemist, a physicist, an engineer, a programmer, an inventor, a computer scientist and an archaeologist. His cross-disciplinary approach affords him an aptitude to condense the many facets of technology into his art constructions that aspire to be concurrently comprehensible and philosophical.

In his new work, Dust, DeMarinis explores facial similarities, pairs of faces, and the abstraction of images into the dust. DeMarinis presents a fragment of this collection of likeness-pairs, scanned sequentially into the light-memory of phosphorescent powder. After a few minutes of exposure to the projected image, the powder retains a faint green image of the two faces on its surface, something akin to the ‘latent image’ of photographic film or the veil of memory. Unlike photographic film, though, the image starts to distort. Propelled by low frequency sound vibrations, the powder starts to flow and dance, first distorting the faces and erasing their likeness, then distorting them into patterns of abstract light in motion, with form and beauty all its own. (Excerpt from Elaine A. King's gallery guide for LIKENESS)

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