PERSONAL PROJECTIONS, a collaborative multimedia installation analyzing memories of seven diverse students. Using LCD projection interaction on their bodies and skin, each video vignette explores an aspect of their identity. These scenes range from stereotypical expectations, gender roles, horrific events, and secretive experiences. PERSONAL PROJECTIONS displays intimate subject matter at monumental scales (64 feet wide x 18 feet tall), making the cherished memories very public. The audience enters the stage, stimulated by fields of colored light and composed soundscapes that support each scenes imagery. Below are images from the Live Installation in the Duderstadt Video Studio and excerpted video scenes. Live recorded video coming soon!

Created by Nikki Horowitz.
Composed by Andrew Hintzen, Nelson Gast, Ryan Shea, and Nikki Horowitz
Performed by Maddy Joss, Kellan Kryak, Larissa Marten, Caty Raupp, Sheli Ruffer, Ryan Shea, and Hojeong Shin

The flower opening on Larissa Marten’s womb in the first scene, “No Children” symbolizes her femininity, rejection of fertility and the end of one’s lineage. The opening and closing, as well as the images of wilting flowers show the growth and decay of a woman’s body while the cactus spikes allude to unshaven, hairy legs; a strict label of masculinity.

“Homes” explores performer, Hojo Shin’s complicated upbringing and nationality through the strange scenes and familiar faces from the five different cities she grew up in. For example, one section displays the dangers her friends are facing in the Israeli army, as the viewer hears sirens and war cries. These videos are played one after another, as if she is moving from place to place; similar to her childhood.

“Princess” pokes fun out of society’s disapproval and fear of manly women and feminine men. Larissa wore frilly undergarments and I overlaid magazine images of male models onto her body, tricking the mind into what is real and a new layer. I created a disconcerting, strange sound remix of the introduction of Snow Whites “A Smile and A Song” due to its theme of the struggles with being accepted and high pitched female vocals.

“Break” explores a car crash Caty Raupp experienced during a leisurely drive on spring break. She explained, “I vividly remember time moving so slowly and having one hundred thoughts, I was positive I was going to die.” Here we see a car driving down the road on Caty’s back, to portray physical pain and story through the line of her backbone.

“Suppress” explores Kellan Kryak’s suppression of her Tourette Syndrome tics. We hear sounds of a doctor explaining the disorder in a repetitious manner, which escalates to an unbearable pace. We see images of her excessively blinking eyes, playing with her mouth, and a metaphorical eye staring right back at her, taking over her mind, as she tries to suppress it.

“Rivalry” is about the manipulation that occurs in friendships, especially in the dance industry. Sheli Ruffer and Maddy Joss choreographed a dance exploring the changes you go through in a friendship, from trust and dependency, to manipulation and greed. This was filmed on green screen and then re-projected onto their bodies in a dance studio. The sound and movements exemplifies the animalistic nature that occurs in the entertainment industry and workplace.

“Detach,” alludes to the feeling of being detached from the group and entranced during an acid trip. We explore Ryan Shea’s experience in fetal position with an overlay of his blank face on top of his body. The distorted caricatured is juxtaposed with electronic trance music and slowly growing and fading blue and orange lights.

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