Next to the projection is a sculptural interactive installation, Cunning Genus. The installation is an entomologist’s field case in which there are three collection jars – a bursting chrysalis in one, a group of fireflies in the second, and a spider in another.

The computer controlled retro- engineered LCD panels inside the case show the insects moving about in their normal behavioral state. When a viewer taps on one of the jars, the creature inside will respond with strange behavior inversely based on its aesthetic value. Nearby projections show the dichotomy between true scientific investigation and inherent human myths. The viewer must stand with her head inside the Plexi curve, nestling her ears close to two small, whispering speakers. This projection space puts the viewer in the position of looking out from within a large glass jar.

•Vectors: Digital Art of Our Time, Winter Garden, New York, NY, Spring 2003, Curated by Bruce Wands
•Dislodged, West Side Gallery, New York, NY, Spring 2003, Curated by Rachel Gugelberger
•MFA Exhibition, Visual Arts Gallery, New York, NY, April 2003

Encounter, Amends
In two dimly lit cells directly across from each other, a luminous projection of a life-sized figure is combined with spoken words to create a dialog between an offender and a victim in an attempt to heal the wounds caused by crime.
We intend to create a dialog between an offender and a victim touching on the stages of restorative justice, the first two of which are Encounter and Ammends. Encounter creates opportunities for the victim, the offender, and community members, to meet to discuss the crime and its aftermath. Ammends involves the expectation of offenders to take steps to repair the harm they have caused.

This project consists of an audio-visual installation utilizing two Plexiglas curved screens, each approximately three feet across, two video projectors and two DVDs. “Talking head” silhouettes of an offender and a crime victims will appear to float in the air, each inside of a cell. The figure will be rear-projected onto the screen which has small speakers at ear-height on either side of the screen.

Designed by Anibal Pella-Woo and Ann LePore, this collaborative project is an audio-visual installation for the Weehawken Water Tower. The Weehawken Water Tower stands to become one of the identifying visual landmarks of this diverse, dynamic and rapidly changing region. Utilizing a number of video projectors, images of slowly rising and falling water will be rear projected from the inside of the building on to a number of its windows on all four sides of the building. We feel it is conceptually important to create this effect mechanically in order to further reflect on the history of the building and the mechanical pumps originally used within it.

We have created a self- contained “Water projection system” which consists of optical elements and a water tank that automatically fills and empties and acts as a giant slide The image of the rising and falling water would then be transferred to video for digital processing and projection. The images themselves will be visible from outside of the building to passersby. In addition, the light from these projections will be visible from much further away. The choice of image is meant to reflect on the original function of the building, and thereby comment on its history in relation to its geographical location.

Site Specific Installation
Rear-projected video and 2 channel sound

At Taliesin, Frank Lloyd Wright’s home and architecture school, I worked with architecture students to create maps from memory. I created a route: a straight line between two points of significance: one of aesthetic value on the Taliesin grounds and one of social importance in the neighboring community of Spring Green.
From this came a video which would be an extension of the idea of outreach. Interviews with area residents, architecture students and even some of Frank Lloyd Wright’s contemporaries and family members determined which views and sites were selected for the installation.

The end result was a rear projection installation which used the largest window in Mr. Wright’s home on the crest of a large hill. Looking at his home, and facing North toward the small town of Spring Green, members of of both communities came together to watch the steady advance through the landscape (and even through the very building that hosted the projection), until finally, they were transported from Taliesin to the center of Spring Green.

The strata that make up an urban landscape consist of many layers: bedrock, land cleared of vegetation, infrastructure systems, street-level concrete paving,
and buildings. Currently, with one eye on upscale urban development, and another looking toward growing concerns of global ecology, plant life is bring returned to city-scapes. In many cases this added value comes in the form of street trees, which are added to the top layer of concrete strata, not quite replacing the natural arbors that came
before them.

In this piece, the dormant urban tree is without foliage, but the shadow of the tree is animated, showing shoots, leaves and blossoms unfolding. The tree is illuminated by the projector displaying the animation. The placement of the light source, (the projector) mimics that of a street lamp. The animation which incorporates the actual shadow of the tree, is projected onto the tree, spilling onto a wall or the ground, and appears as a continuation of the tree’s shadow.

Originally a proposal for the Madrid Abierto, Wendy Wolf and I wanted to combine my projection/object work with her cut garlands. The first installation of Honey Locust Layers was with a smaller tree, approx 4 ft high, at the Spring Garden Studio in Philadelphia. The bare-limbed tree was draped with her paper garlands of hundreds of leaf-replicas. Then I manufactured a projected shadow to represent the tree with lush foliage.

For the second incarnation of Honey Locust Layers, I worked alone, without the garlands, or the wonderful Wendy, in a storage space in the basement of the Berrie Center at Ramapo College. This time, I used a larger tree, 6ft 6 inches, was carefully stripped of its leaves, measured and photographed. Nest the tree was modeled in 3D space using Cinema 4D software. Then an animation of leaf growth was created for the model. The final animation was projected onto the tree to match its shadow and create an additional “shadow” of the growing shoots and leaves. The only problem was when the tree and projector were moved to a new space. Somehow, the animated shadow no longer matched the real shadow cast by the projection beam and the whole model had to be rebuilt with the software, while projecting the results of each test in the new space. Afterward, the projector model, height and all positions were carefully measured and mapped for future installations.

Clockworks, The A Corporation: Adrianne Evans and Ann LePore

Silver Fork, mainspring mechanics, miscellaneous bit from under the hood of a 1984 Toyota Corolla, bread dough doll, wire

After the user winds the spring with the fork, the mechanics make a lot of noise until finally, just before it stops, the lever on the back of the doll is triggered and the eyes begin to roll back and forth.

Rocket Ride

6ft Tripod, 30rpm motor, small cast aluminum rocket filled with lead, large rolled steel rocket with aluminum nose and tail, Neon, incandescent red and white lights.

Rocket 1995 part of the Alfred Light Show

The rocket ride is dangerous and takes 2 seconds to make one full revolution at a diameter of over 8 feet.

Nose-view. Looking down the center.

Visual Toaster

Toast, film, two toasters, motor, projection bulb and lenses

When the toast “toasting”, it is in line with the light source and the piece of film held in the toast will be projected onto the wall.

When the toast pops up, the mechanics of the machine will be shadowed and displayed within the cast aluminum bread-textured frame.

1995 exhibited at Pyramid Gallery in Rochester, NY