UT COELUM is a powerfully emotional product of video and audio remixing, which creates a unified, captivating experience for the viewer. The original video footage is of Local Color, a 14-woman a cappella choir performing UT COELUM – a composition by Ethan Nasreddin-Longo based on a text by Lipsius. Through extensive post-production work, Alexander-Clarke weaves a multi-layered tapestry of video and audio fragments, producing a sonic well set against a constantly shifting visual field. Twelve monitors display an undulating field of fractured facial features, while the audio remix gives the effect of one augmented murmer, rather than that of individual voices.

_ Alfred T. Kamajian, Scientific American

Combining digital technologies and cinematic illusion, duplex is a rhythmic work of operatic proportion, depicting a parallel universe in which one’s life is shadowed by an alter-ego existing in the same space-time continuum.In duplex, Baldwin asks the viewer to imagine what your alter-ego would be like if he or she were to walk alongside you, paralleling and/or participating in your life. If science somehow managed to bend the cosmic horizon to open a doorway to a parallel existence, the resulting manifestation of any given person’s self might well be far different that one ever imagined. Baldwin proposes that everything is relative, from age to appearance to behavior, dependant upon our perception of both ourselves and of those around us.

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Bruce Yonemoto’s Sealed addresses the condition of humans living in an increasingly digital age, an age in which our bodies are being constantly pummeled
by a blinding, ceaseless stream of light projectiles. Yonemoto posits that the human body has become akin to the movie screens of old – a surface which catches light in order to make visible, real, that which is projected upon it. However it can be nearly impossible, with millions of disembodied commercial images barreling at us, to truly discern the fictive structure of the media, as Robert Desnos does above. Sealed challenges the viewer to examine our contemporary experience of “self”, and questions whether we, as humans living in a society increasingly permeated by communications technologies, have lost our facility of critical expression and become both numb and mute observers of unconscious optics. Yonemoto asks if our natural orifices for the disposal of information input have been “sealed”, leaving us in smooth-skinned, anal-less bodies – bodies which once effectively consumed, digested and evacuated a constant stream of images and other media input, but can no longer do so. Sealed is an eloquent attempt to metonymically “slice open” our screen skins, retaining only those images that define our existence.