HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... WHISTLE PORTRAITS By Linda Mary Montano HiLo Catskill June 10, 2018 During these dangerous / confusing / armageddonned times we are all looking for connection, understanding, and warmth. The three of us are committed to providing public art medicine. ART=LIFE=ART. For WHISTLE PORTRAITS at HiLo, we invite audience member-collaborators to sit with us and receive a public art healing. ART HEALS!!! - Linda Mary Montano photo by Adolfo Ibanez Ayerve

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... FEMINIST ART GROUP (F.A.G) HURLEY, NY ​ SEPTEMBER 1-4, 2017 ​ ​ THE OLD GLENFORD CHURCH STUDIO IV Castellanos, Amanda Hunt, Miette, Anya Liftig, Elizabeth Lamb, Jodie Lyn Kee Chow, Lorene Baboushian, Valerie Sharp, Kate Hamberger, Linda Montano, Ernest Goodmaw, Jennifer Zackin, Clara Diamond, Nina Isabelle ​

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... BANGKOK UNDERGROUND CINEMA ​ The Bangkok Underground Film Festival 2017 program consists of a series of events across multiple venues in Bangkok. Co-organised by Speedy Grandma , emesis , Bridge Art Space & Jam Caf é , with support from VS Service , Projectionist Asia , Panda Records and Museum Siam . ​ MARCH 5-12, 2017

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... IMAGINED PERFORMANCE STORYTIME WITH IV CASTELLANOS Imagined Performance written by Nina Isabelle and read live on Instagram by IV Castellanos @iv_castellanos Para\\el Performance Space February 12, 2021 READ BY IV CASTELLANOS: You will be guided through a sequence of events that have been systematically untethered from any and all singular, multiple, or quantifiable physical locations. Any and all astral, psychic, temporal, and somatic pins have been removed from the fabric of time. All known and unknown extradimensions will be accessible to you. Some of the events may feel familiar to you. You might recognize the radiator in this space. You might be familiar with the sound of my voice or the way this space expands and contracts at will. Sometimes this space is as large as a destroyed production room of an old abandoned textile factory with remains of broken equipment The person sat down. The seated person had an idea and hoped to untangle it by sitting down. They started to speak out loud- "I have an idea and I want to sit down." They didn't say the next part out loud but only thought it to themself inside their own quiet mind - "I'm not sure where to start." The next part involves the person discussing with themselves what they believe they know about three things; beginnings, middles, and ends. A lot of time goes by. The person sits and thinks. ​ Hello. Welcome to Imagined Performance. My name is IV Castellanos and today I will be reading a performance imagined by Nina Isabelle. This performance starts right now: at 8:17 pm on February 12, 2021 and will end precisely at 8:32 pm. All participants are asked to please defocus their perception using whatever breathing or other techniques they find useful. Be with your laptops but not of them. Hold your phones loosely or not at all. Connect through disconnecting. Believe that you know what this means. I will continue speaking during your process. Please know that it is not necessary for you to understand what I am saying. I am moving my mouth. I am vibrating my vocal cords in a certain way that I have found useful. There are many sounds happening where I am. I can hear traffic. A radiator is hissing. Sometimes people's boots are stomping up and down staircases. The walls here are thin. The sound of passersby breathing and conversing and slogging through cold, ice, and snow. While I continue to speak, please list the sounds you notice in your environment. Speak these sounds out loud to yourself where you are now. In this way, we can be together through our differences. You may whisper, yell, or use any variety of tone or volume you choose. As a disclaimer, please know that I will be recording you through an invisible and unreal mechanism. In order to indicate that you agree, please either respond or remain unresponsive. Please continue to focus on the sounds of your environment and continue to speak them out loud. I will now begin to describe the performance I am sitting here at Parallel Performance Space in Brooklyn, NY. I am speaking into the camera on my computer. Here in the space with me, are sixteen audience members. They are each wearing a new mask prototype made of woven atmospheric particles interlaced through a selective ionic process that traps virus particles using infra-aural radio webs emitted by the human ear. This new technology makes it possible for us to once again be together in small spaces, to hug one another, and sit next to each other with our knees and elbows periodically touching by accident as we move. Everyone here is silently focused on the performance, blinking and slowly shifting their posture. They are listening to the space and my voice. Their phones have all been silenced. Now they are watching me light a candle. Some of them are nervous because the flame of the candle is reaching all the way up to the ceiling. There is a thin ribbon of fire with a black smoke tip that is drawing something out on the ceiling with a line of soot. Some of the audience members are acting as if they are not surprised or nervous. They're keeping their faces very still and devoid of expression. Some of them are trying to photograph the tall ribbon of flame with their phones. One person makes a short video for their Instagram story. Some others are looking back and forth at one another, wondering what will happen and waiting. The symbol drawn on the ceiling by flame is so far unrecognizable. It might be a slanted reflected cursive letter Q, an off kilter house, or the runic shape of Perthro reversed. No one can tell. For a while, people watch and wonder. Time passes. A thick hemp rope unfurls down from the ceiling and drops down to the floor with a heavy thud. At this point, a person comes into the space from the street through the front door, a latecomer. They're trying to be small, silent and unnoticed out of politeness for the performance. Right now, as I'm speaking, this person is sitting down in the corner trying to appear quickly as if they are being observant and contemplative and they're pretending not to notice this reference to them. They want to appear as if they know what is happening. They are also wearing the new mask prototype. I want them to feel comfortable. Now I will play back for you the sounds I have been recording of you speaking at home. Please listen closely: ​ SPEAKING SOUNDS Nina Isabelle 00:00 / 04:52 While this loud sound is playing, I place a large transparent vat of diesel fuel in the center of the space. It is a beautiful transparent pink fluid. People are stunned at its beauty. How can such a toxic substance be so beautiful? Everyone wonders. The ribbon of flame is still tickling the ceiling. I use my hand to bend it down toward the vat of diesel. The black tip of smoke connects with the surface of the fluid. Some people seem nervous because diesel fuel is flammable, however not combustible. Many people are not aware of this distinction. The ribbon of flame slowly dips into the vat and begins to grow in size. People are squeezing their faces in fear and inhaling through their clenched teeth. Some are starting to shield their faces and ears with their hands. No one heads for the door. The intensity of the fire ribbon grows and grows until finally a figure emerges from the pink flaming liquid. It's a full size human wearing a green robe. The robed diesel person floats toward the radiator and, crouching down, they begin to turn the knob, opening the radiator further and further and further. A glowing purple ring of light grows with each turn. Once the purple ring of light reaches six feet in diameter, I blow out the candle. I walk into the purple ring of light, stand dramatically frozen for a moment, turn, and reach for the person closest to me to join me and they do. The person is wearing a thick wool plaid skits and has a large pile of blond curls stacked up on top of their head. They have a felt cloak with a large golden leaf broach pinned to their lapel. Underneath this, they're wearing a neoprene shirt - a rash guard like surfer's wear with a giant plastic zipper. Together we enter the portal and vanish. The green robed figure takes out a bucket of grey paint and a paint brush and, crouching down slowly, they begin to paint the plywood floor. They are groaning and wailing and complaining loudly about the floor, about how many times they have had to do this in the past and how each time, it never seems to matter. Someone always spills taffy or blood or resin and it always needs to be scraped up or sanded or covered over. They continue to paint the floor and cry. This lasts for over twenty minutes. Their tears sizzle as they drip and mix with the grey paint. Tiny smolders of atomized paint-tears begin to float throughout the room with a small being encapsulated in each floating speck. They all cry out and their own tiny tears begin to rain down on the performance attendees. The diesel fumes mix with the tear droplets and the people begin to feel light headed and nauseous. Some people try to escape but the door is jammed shut. Everyone wants to go home, but they can't. They're stuck. Please, now, if you will, shift your awareness from the sounds in your atmosphere to the physical objects in your environment. Please speak the names of the objects you see around you. Say these things out loud. Say the colors of the objects. Be as descriptive as possible. Say the size of the objects. Describe their textures and whatever other particulars you notice or feel. For example, you might say: Beige Chenille sofa. Small cigarette stains. 5 x 8 deep red wool handmade Turkish Bokhara rug. Regular sized half eaten bowl of cereal. Crystal chandelier missing three light bulbs. Green plastic 2.5 gallon bucket with mop water. four square inches of peeling orange paint. Tiny chocolate fingerprints on thick mauve polyester drapes. Again- you are being recorded and you agree to this. I will now play the real-time recording of your collective voices. SPEAKING OBJECTS Nina Isabelle 00:00 / 02:24 While you continue speaking and listening to yourselves speaking together, please simultaneously turn one-third of your awareness back to the performance at hand. We are here at Parallel Performance Space. The performance attendees are uncomfortable and scared. A glowing spot begins to reveal itself on the ceiling between the cryptic soot symbol and the hemp rope. Several non-human entities start to slip through the glowing spot and descend into the space by sliding down the hemp rope. The beings are translucent, faceless, and silent. They emit an overwhelming feeling of love, safety, hope, transformation, and understanding. The odors of diesel fumes, soot, mop water and paint fumes dissolve and are replaced by the smells of lilac, hyacinth, roses, warm potato leek soup with chives, and chamomile tea. Warm local raw organic creamed honey bubbles up from the floor and everyone covers themselves in it. It's amazing. The performance attendees are now bursting into tears of joy and relief. They now know in their bones that everything is perfect everywhere in the world and for the first time in a long while, they feel hopeful. The glowing beings begin to hand out the most amazing cupcakes. Everyone is happy and hugging and eating cake together. Here is what it the space sounds like now: ​ IMAGINED PERFORMANCE FINALE Nina Isabelle 00:00 / 03:24 In the mean time, The radiator begins to hum and the sound begins to grow into the harmonic sound of a thousand electronic angels breathing in unison and every pipe organ on earth begins to sing together. Bells are ringing in the clouds and the purple portal returns with a beautiful hum. I step out of it along with the performance attendee who joined me, and the floating green robed figure. We hold each other's hands and take a big dramatic bow. This is the end of the performance. People clap and clap and whoop, hollar, and whistle. Everyone is so happy. No one wants to leave. People want to debrief. What just happened? How can we explain this? One person says they saw their ancestors. Another person miraculously figured out why their car wouldn't start. One person's psoriasis vanished completely. Another realized how much their mother loved them. Yet another discovered the whereabouts of their lost passport. A few realized it was time for a career change. Now, people are outside smoking and mingling on the sidewalk. All the lights are extra sparkly, everything looks clear and bright. The air is crisp and clean like it hasn't been in years. Some people are starting to head home. People are walking arm in arm and gazing in each other's eyes. We start to clean up the space and get ready for bed. It was a good night. A performance like no other.

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... ​ NINA A. ISABELLE Kingston, NY isaben@rpi.edu ​ Nina Isabelle is a process based artist working with perception, action, language, and phenomena. Her practice is a method to sort and solve the inconsistencies of language, memory, and form. She makes paintings, drawings, photographs, video, sculpture, sound, performance and writing as inquiry into how sensory perception functions as the impetus for action, reaction, response, and choice making in art and life. Her work often merges disciplines as she explores how sense data compels actions, informs concepts, and the unconscious and conscious impact these variables have on decision making processes used to construct meaning and worlds. Motivated by the failure of dialogue, the dissonance between form and content, the imposition of objects in space, as well as the deficiencies of literal language, her projects highlight how modes of psychic imprinting and cerebral interpretations come together to organize perception in ways that can inform and solidify new possibilities and transformations. She often arranges structures for action, gesture, and performance as a way to reveal surprises or new information. She might act out directives such as repetitive gestures and/or categorical movements inspired by mathematical number sequences, geometric or asymmetrical patterns, GPS location, or directions within open time segments to find ways that improvised movements, reactions, and responses can be examined, quantified, relearned, or transformed. Her projects often compel her to construct life size human forms, sew garments or other wearable objects, wrap and/or suspend arrangements, weld steel structures that might become a wearable, percussion instrument, a kinetic sculpture, or all three. The sculptural objects that result from her process are project-specific and function as concept-artifacts, or evidence of a process of engaging with physical material. Along the way and afterward, she scrutinizes everything including conception, design, creation, physical actions & interactions, and destructive elements as a way to notice inconsistencies or transformations that demonstrate how manipulating physical material might reveal information about ways of manipulating non physical dimensions including concepts. ​ Isabelle use photography and video documentation as instruments to highlight and inspect sensory inconsistencies and memory schisms that occur throughout expanded timelines. By simultaneously displacing perception into three different vantages (the observer, the observed, and the observer of the observed,) she is able to engage with documentation as a tool to untangle problems related to sequence and simultaneity, physical location and material, the affability of memory, the complexities of self and other, and the inconsistencies experienced by the observer and experiencer over time. Her projects often include soundscapes made using her personal collection of audio samples including inaudible language or partially told stories, text-to-speech robots, discordant and degraded audio bombardments, multilayered barrages of noises sampled from her life such as gun shots, clicking bicycle sprockets, wind hitting a microphone, my kids, and my own improvised interactions with musical instruments. As part of her process, Isabelle will stretch, layer, reverse, overlap, or modify her soundscapes creating a cacophonic experience that might engage and scramble or distract and divert a portion of perception with the goal of freeing up other awareness functions. Isabelle's work has been presented at The Elizabeth Foundation for the Arts in New York City, The Queens Museum as part of Emergency Index Documentation Discussion, Judson Memorial Church, Grace Exhibition Space, and ABC No Rio in Exile at Bullet Space in NYC with Feminist Art Group, as well as at Para//el Performance Space and The Ear in Brooklyn, NY. Internationally her projects have been presented at Czong Institute for Contemporary Art in Gimpo, South Korea, The Unstitute in Catalunya, Spain, Bangkok Underground Film Festival in Thailand, and NA Gallery in South Korea. Nationally her work has been shown at The San Diego Art Institute, The New School's exhibition at The Bushwick Collective, Roman Susan in Chicago, IL, and CX Silver Gallery in Brattleboro VT, among others. In 2018 Isabelle founded Three Phase Center for Collaborative Art Research & Building in Stone Ridge, NY where she facilitates, collaborate with, and document the work of process based conceptual and performance artists. Three Phase Center also produces a video documentary series titled Documenting Process that aims to substantiate the utility of art processes that challenge the measures of value established by institutions and markets by highlighting the lateral values of the processes and practices artists engage with that benefit their social spheres, themselves, or larger communities in less quantifiable ways. The series features artists talking about their practices, process, influences, motivations, and future plans in relatable and accessible terms. Isabelle is continually motivated to work, present projects, facilitate, and collaborate with artists and idea people of any sort. Please feel free to contact her to schedule a studio visit. She also have many pieces of artwork for sale and is happy to discuss commissioned works including painting, drawing, photography, video, and sculpture. ​ Educational Statement I first studied art at Pennsylvania School of Art and Design in 1991, and then at The University of Utah. I received my Bachelor's in Art from Westminster College and graduated with honors in 1999. In 2022 I received a Rensselaer Graduate Fellowship award to pursue study in the doctoral program in Electronic Arts at Rensselaer Polytechnic Institute. ​ ​ Exhibitions, Collaborations, Participations & Projects 2023 5 Objects, Percussion & Piano for Lisa Schonberg's Old Growth Playback, The Sanctuary for Independent Media, Troy, NY 2023 Electronic Arts PhD Open Studios, Rensselaer Polytechnic Institute, Troy, NY 2023 Chicken Performance with Linda Montano, Paul McMahon & Brian McCorkle, Lamb Center, Saugerties, NY 2023 Art = Healing, a group exhibit by Linda Montano at Emerge Gallery, Saugerties, NY 2023 b priori, Rensselaer Polytechnic Institute EArts PhD Graduate Exhibit at Collarworks, Troy, NY 2022 West Hall Open Studios, Rensselaer Polytechnic Institute, Troy, NY 2022 Livestream - Nina Isabelle & Adriana Magaña at Jennifer Zackin's Upstate Art Open Studio, July 2022 2021 Building as Being / Construction as Performance - IV Castellanos & Nina Isabelle at Rosekill Performance Art Farm, June 2021 2021 Nina Isabelle - Artist, Thinker, Observer , Theresa Widman's Podcast #183 2021 The Black Meta Interviews Nina Isabelle for Radio Kingston, by Beetle & Freedom Walker, May 2021 2021 Psychic Self Defense, Artlife Institute, Kingston, NY 2021 Imagined Performance written by Nina Isabelle presented by IV Castellanos, Para\\el Performance Space, Brooklyn, NY 2020 Meet The Makers, Children's Museum of Art in NYC interviews Nina Isabelle, October 21, 2020 2020 Spheres of Performance, Perception, and Value, virtual presentation for The Hynes Institute of Entrepreneurship & Innovation at Iona College, September 2020 2020 Video Manifestation System User Interface Lecture and Presentation, Grace Exhibition Space, NYC , May 1, 2020 2020 Superfund Revisioning Project Lecture, Grace Exhibition Space, NYC . May 15, 2020 2020 EQUINOX, An Emergency of Joy, March 19, 2020 2019 The Shape of a Feeling & the Languages of Organizational Structures, The Esthetic Apostle, October 2019. Web. 2019 Choices & Voices, The Ear, Brooklyn, NY 2019 Remarkable New Locations, CX Silver Gallery, Brattleboro, VT 2019 April 5th Video for Daily Trumpet by Jonathan Horowitz. Web. 2019 Illuminating Intangibles with Amelia Iaia at Para\\el Performance Space, Brooklyn, NY 2019 Documentation Discussion with LiVEART.US & Emergency INDEX at Queens Museum 2018 Empathy Blinders by David Ian Bellows/Griess with Nina Isabelle & Elizabeth Lamb, Brooklyn Arts Media , December 4-18, 2018 2018 LaTable Ronde / Critical Practices Round Table #7.1 on Careerism, NYC 2018 In Honor Of, The Elizabeth Foundation for the Arts, NYC 2018 actLife , Linda Montano, Nye Ffarrabas (Bici Forbes,) Cai Xi, Lee Xi, Nina Isabelle, Jennifer Zackin, Sharon Myers, C.X. Silver Gallery, Brattleboro, VT 2018 Healing + Arts / Radical Domesticity , Movement Metaphors Time Travel Workshop, Kingston, NY 2018 No Nudes / No Sunsets , Greene County Council on the Arts, Catskill, NY 2018 Whistle Portraits with Linda Mary Montano & Jennifer Zackin, Secret City Art Revival, Woodstock, NY 2018 Whistle Portraits with Linda Mary Montano & Jennifer Zackin, HiLo, Catskill, NY 2018 Animalia , 2018 Anarchist Art Fair at Judson Memorial Church, NYC 2018 Performancy Forum, ForceYourself to be Good , Panoply Performance Laboratory, Brooklyn, NY 2018 Citizen Participation: Diagrams & Directives , Feminist Art Group, ABC No Rio in Exile at Bullet Space, NYC 2018 The Hymn Warp Transducer, Paul McMahon's Bedstock, 9 Herkimer Place, Brooklyn, NY 2018 Muscular Bonding, New Genres Arts Festival, Living Arts, with Esther Neff, Beth Neff, Kaia Giljia, 3dward Sharp, and Adriana Disman, Tulsa, OK 2018 M.A.R.S.H (Materializing & Activating Radical Social Habitus,) with Esther Neff, Beth Neff, Kaia Giljia, 3dward Sharp, and Adriana Disman, in St. Louis, MO 2018 Video Manifestation System by Nina A. Isabelle, Human Trash Dump, www.archive.org , 2018 Piano Portraits with Linda Mary Montano, Nina Isabelle, & Jennifer Zackin at HiLo in Catskill, NY 2018 Beast Conjuring , The Mothership, Woodstock, NY 2017 MKUVM , Human Trash Dump, Nov. 27, 2017, www.archive.org 2017 Vidiot , The Unstitute, Catalonia, Spain & Virtual 2017 4th Iteration of The Bedroom by T.W.A.T. (The Women Art Team), Holland Tunnel Gallery, Brooklyn, NY 2017 CENTENNIAL:SHE , Greene County Council on the Arts, Catskill, NY 2017 Patricia Field's Art/Fashion Show, Joe's Garage, Catskill, NY 2017 Feminist Art Group Performance, Old Glenford Church Studio, Glenford, NY 2017 Midtown Arts District Art Walk, Kingston, NY 2017 The Shirt Factory Centennial, Kingston, NY 2017 The Unstitute's Projection Room, Integrative Ontological Practices by Selden Paterson & The Eucharist Machine by Nina Isabelle, Catalonia, Spain & Virtual 2017 We Are The Secret Garden , The Stable Yard at Ernest, Anna, & Ming's in Kingston, NY 2017 The Bedroom , The Women Artist Team at NA Gallery, Chungcheongnam-do, South Korea 2017 Just Situations with FAG, Grace Exhibition Space, Brooklyn, NY 2017 Ungovernable Zone by Anarko Art Lab at Secret Garden Art Festival at Ft. Tilden, NYC 2017 Beautiful Symphony: Women Creating Chaos with F.A.G at Rosekill, Rosendale, NY 2017 Experimental Archery & Mark Making, Rosekill, Rosendale, NY 2017 MOTHERING , Rosekill Performance Art Farm, Rosendale, NY 2017 If You Don't Go Out In The Woods , Legacy Fatale, Rosekill Performance Art Farm, Rosendale, NY 2017 oUT iN tHE zONE, Anarchist Art Festival #11, Judson Memorial Church, NYC 2017 UNITY, The Lace Mill Gallery, Kingston, NY 2017 Wish You Were Here II, The Old Glenford Church Studio, Glenford, NY 2017 Feminist Art Group (F.A.G.) Knights of The Round Table , Grace Exhibition Space, Brooklyn, NY 2017 Stages, Green Kill Gallery, Kingston, NY 2017 Property, Roman Susan & Rogers Park / West Ridge Historical, Chicago, IL 2017 Bangkok Underground Film Festival, Bridge Art Space, Bangkok, Thailand 2017 Embarrassed of the Whole, Time Travel Research, Panoply Performance Laboratory, Brooklyn, NY 2017 SHORTCUT TO HELL, Otion Front Studio, Brooklyn, NY 2016 Laundry Loops with JOB // IV Soldier's F.A.G. (Feminist Art Group, ) Panoply Performance Laboratory, Brooklyn, NY 2016 The Dead Are Not Quiet, San Diego Art Institute, San Diego, CA 2016 Artist and Location , Czong Institute For Contemporary Art (CICA) Museum, Gimpo, Korea 2016 The Jernquist Coloring Book Show, Studio Fidlär, Alexanderplatz, Berlin 2016 PoliTRICKS , Art Ellipsis, Philladephia, PA 2016 Feminist Art Group in IV Soldiers Gallery at Rosekill Performance Farm, Rosendale, NY 2016 85th Annual Woodstock Library Fair, Woodstock, NY 2016 The Shirt Factory Open Studios, Kingston, NY 2016 The New School / Bushwick Collective, Brooklyn, NY 2016 The Shirt Factory Artists , Wired Gallery, High Falls, NY 2016 Wish You Were Here , The Old Glenford Church Studio, Glenford, NY 2016 Installation and Performance at The Art Life Institute with Clara Diamond, Kingston, NY 2016 The Pain Project / Alice Teeple-Now Is Real , Star House Gallery, Kingston, NY 2015 Silent Mass Generator Workshop , Grace Exhibition Space Archive, Kingston, NY 2015 Instinct , The Parliament, York, PA 2015 Posthumous Collaborations , Star House Gallery, Kingston, NY 2015 Abstract Mediums , Star House Gallery, Kingston, NY 2014 Witness: The Cedar Tavern Phone Booth Show , Star House Gallery, Kingston, NY 2014 Old Pro , Punk Rock Fish Studio, Berlin, MD 2014 Art Along The Hudson at S.P.A.F, Saugerties, NY 2014 Star House Gallery, Studio Sale, Kingston, NY 2014 Varga Gallery Memorial Day Group Show, Woodstock, NY 2014 Bold And Bright curated by David Barr, Artspace,Falls Church, VA 2013 Ethos of Abstraction -Nina Isabelle/Lucienne Weinberger, Stray Cat Gallery, Bethel, NY 2013 The Garden Cafe, Woodstock, NY 2013 Diagnosis Artist , Star House Gallery, Kingston, NY 2013 Half Your Age , Barrett Art Center, Poughkeepsie, NY 2013 Barrett Art Center, Kinetic , Poughkeepsie, NY 2013 Art Foray, Wired Gallery, High Falls, NY 2013 Home Grown , Hole In The Wall Gallery, Mechanicsburg, PA 2013 Outer Expressions of Inner Mayhem , solo show, Metropolis Collective, Mechanicsburg, PA 2012 Bits & Pieces , The Metropolis Collective, Mechanicsburg, PA 2012 Cool Cats , Hole in The Wall Gallery, Mechanicsburg, PA 2012 Fall Season Show, Greenpoint Gallery,Brooklyn, NY ​2012 IDIOM , Unison at Water Street Market Gallery, New Paltz, NY 2012 The Maltese Falcon, Barrett Art Center, Poughkeepsie, NY 2012 Trash Art Gallery at The Metropolis Collective, Mechanicsburg, PA 2012 The Handmade Photograph , Mills Pond House Gallery, Smithtown, Long Island, NY 2012 Sex 7 , Projekt 30, NYC 2012 Cornell St. Studio, Kingston, NY 2012 Varga Gallery, Goddess Show, Woodstock, NY 2012 Erotica , Tivoli Artists co-op, Tivoli, NY 2012 Birds of a Feather , Varga Gallery. Woodstock, NY 2011 Paintings / Drawings, Lovebird Studios, Rosendale, NY 2011 Season Show, Art @ Home, Kingston, NY 2010 Wings Gallery, Rosendale, NY 2007 South Main Studios, Gunnison, CO 2007 Paragon Gallery, Crested Butte, CO 2005 The Gunnison Arts Center, Gunnison, CO 2004 The Gunnison Arts Center, Gunnison, CO 2003 The Gunnison Arts Center, Gunnison, CO 2002 The Gunnison Arts Center, Gunnison, CO 1999 Jewett Center, Westminster College, Salt Lake City, UT 1998 Sundance Gallery, Sundance, UT 1998 Weber State College, Weber, UT 1992 P.S.A.D Student Gallery, Lancaster, PA 1991 P.S.A.D. Student Gallery, Lancaster, PA 1990 Centre Film Lab, State College, PA 1989 Art Alliance of Central Pennsylvania, State College, PA 1988 Pennsylvania State Capital Building, Harrisburg, PA ​ Solo Exhibitions 2021 Psychic Self-Defense, Artlife Institute Kingston, Kingston, NY 2019 Remarkable New Locations, CX Silver Gallery, Brattleboro, VT 2018 We Can't Tell What We're Doing, HiLo, Catskill, NY 2018 The Beast, The Mothership, Woodstock, NY 2017 Nina A. Isabelle at HiLo Art, Catskill, NY 2016 Animal Maximalism , Green Kill, Kingston, NY 2016 Hyperactive Installation at The Shirt Factory, Kingston, NY 2016 The Pain Project , Art/Life Institute, Kingston, NY 2014 The Random Community Generator , Star House Gallery, Kingston, NY 2013 Inner Mayhem , Metropolis Collective, Harrisburg, PA 2002 Nina Isabelle, Gunnison Art Center, Gunnison, CO 1999 Handmade Photographs , Bibliotheque, Salt Lake City, UT Performance 2022 Livestream - Nina Isabelle & Adriana Magaña at Jennifer Zackin's Upstate Art Open Studio, July 2022 2021 Building as Being / Construction as Performance - IV Castellanos & Nina Isabelle at Rosekill Performance Art Farm, June 2021 2020 EQUINOX, An Emergency of Joy, Three Phase Center, Stone Ridge, NY 2019 Illuminating Intangibles, Para\\el Performance Space, Brooklyn, NY 2018 Land Lines with Jennifer Zackin, C.X. Silver Gallery, Brattleboro, VT 2018 Whistle Portraits with Linda Mary Montano & Jennifer Zackin, Secret City, Woodstock, NY 2018 Whistle Portraits with Linda Mary Montano & Jennifer Zackin, HiLo, Catskill, NY 2018 Embodying The Outer Bodies / Force Yourself To Be Good Panoply Performance Laboratory, Brooklyn, NY 2018 Citizen Participation: Diagrams & Directives, Feminist Art Group, www.bulletspace.org , NYC 2018 The Hymn Warp Transducer, Paul McMahon's Bedstock, 9 Herkimer Place, Brooklyn, NY 2018 Muscular Bonding, New Genres Arts Festival, Living Arts, with Esther Neff, Beth Neff, Kaia Giljia, 3dward Sharp, and Adriana Disman, Tulsa, OK 2018 M.A.R.S.H (Materializing & Activating Radical Social Habitus,) with Esther Neff, Beth Neff, Kaia Giljia, 3dward Sharp, and Adriana Disman, in St. Louis, MO 2018 Piano Portraits with Linda Mary Montano, Nina Isabelle, & Jennifer Zackin at HiLo in Catskill, NY 2018 Beast Conjuring, The Mothership, Woodstock, NY 2017 We Are The Secret Garden , The Stable Yard at Ernest, Anna, & Ming's in Kingston, NY 2017 Just Situations with FAG, Grace Exhibition Space, Brooklyn, NY 2017 Ungovernable Zone by Anarko Art Lab at Secret Garden Art Festival at Ft. Tilden, NYC 2017 MOTHERING , Rosekill Performance Art Farm, Rosendale, NY 2017 If You Don't Go Out In The Woods , Legacy Fatale, Rosekill Performance Art Farm, Rosendale, NY 2017 oUT iN tHE zONE, Anarchist Art Festival #11, Judson Memorial Church, NYC 2017 The Fabric of Women's Space-Time, The Lace Mill Gallery, Kingston, NY 2017 Stages , Green Kill Gallery, Kingston, NY 2017 Embarrassed of the Whole, Time Travel Research, Panoply Performance Laboratory, Brooklyn, NY 2016 Mock The Chasm , Art / Life Institute, Kingston, NY 2016 Laundry Loops at JOB /// IV Soldier's F.A.G. Feminist Art Group at Panoply Performance Lab, Brooklyn, NY 2016 Q: INFORMATICUS, P)REPARING THE REAL , The Panoply Performance Laboratory, Brooklyn, NY 2016 Performances Sketches / Clara Diamond's Residency at Art/Life Institute, Kingston, NY 2015 The Q: Entity , The Art/Life Institute, Kingston, NY 2015 The Silent Mass Generator Workshop , Grace Exhibition Space Archive, Kingston, NY 2005 Mirror , Taylor Hall at Western State College University, Gunnison, CO 2002 What Do We Have? / Vanity / Death, Jaquelynne Brodeur & Nina Isabelle, The Gunnison Art Center, Gunnison, CO 1999 The Dischordant Student , Jewett Center, Salt Lake City, UT ​ Video Production 2022 Documenting Process: Cai & Le Xi 2022 Documenting Process: Josh Babu 2022 Steve's Dream 2021 Documenting Process: Shola Cole AKA Pirate Jenny 2019 Documenting Process: Linda Mary Montano 2019 Documenting Process: The Architecture of a Stream by Valerie Sharp 2018 Documenting Process: Decompositions by Brian McCorkle 2018 Seemripper https://vimeo.com/296678389 2018 Video Manifestation System, Human Trash Dump, https://archive.org/details/htdc005 2016 The Eucharist Machine, 4:48, https://vimeo.com/189071199 2016 Certain Solutions For Solving Problems, 8:40, https://www.youtube.com/watch?v=ltIadB4FuFI 2016 Domestic Loops, 6:20, https://www.youtube.com/watch?v=AeEYUtCZbKY 2016 Mother Vs. God, 0:47, https://vimeo.com/176222556 2016 IBM- Tech City Re-Vision , 0:55 https://vimeo.com/182476408 2016 The Giant Candle - Environmental Healing Spell By Proxy , 2:43, https://vimeo.com/182594886 2016 Locational Trauma Transform, 2:54 https:https://www.youtube.com/watch?v=crlDcMZfy1M 2016 Performance Sketch at Art/Life Institute https://youtu.be/XzNUWDwvOTk 2016 The Story Of Terror / Ax In The Stump https://vimeo.com/176227354 2016 Building Connections https://www.youtube.com/watch?v=8YdGO-7zrSY 2016 C O D E https://www.youtube.com/watch?v=EcxJ4pHX8WE 2015 Feeding The Entity https://vimeo.com/140719399 2015 Siblings https://www.youtube.com/watch?v=LR4ErG0Khvc 2015 Q:Entity at Art/Life Institute https://www.youtube.com/watch?v=5joer_gcyKQ ​ Curating / Hosting / Facilitating 2022- iEar Salon curatorial committee member, Rensselaer Polytechnic Institute, Troy, NY 2021- 2022 Sound of Ceres- facilitate set construction & studio space for production of Emerald Sea 2022 - BIRTHDAYARAMA - Linda Mary Montano's 21 hr. Zoom Birthday Party 2021 Michelle Temple at Three Phase Center, Stone Ridge, NY 2021 Shola Cole- Drawing, Welding, & Construction for Time Travelers 2020 Notice Recording presents New Music & Free Jazz, Three Phase Center, Stone Ridge, NY 2020 Social Dissonance, Paul McMahon, Three Phase Center, Stone Ridge, NY 2019 FUTURE: Shola Cole AKA Pirate Jenny, Three Phase Center, Stone Ridge, NY 2019 Speed, Light, Motion & Gesture: Video Installation by Josh Babu, Three Phase Center, Stone Ridge, NY 2019 Infinity Within & Without, Cai Xi and Le Xi, Three Phase Center, Stone Ridge, NY 2019 Hurray! The Gland Doctors Graduate. Linda Mary Montano, Amanda Heidel, Arielle Ponder, Megumi Naganoma, and Lynn Herring 2019 Lorene Bouboushian & The Undoing And Doing Collective, Three Phase Center, Stone Ridge, NY 2019 The Architecture of A Stream by Valerie Sharp, Three Phase Center, Stone Ridge, NY 2019 Public Vortex Weaving by Jennifer Zackin, Three Phase Center, Stone Ridge, NY 2018 The Malleability of Memory by Ernest Goodmaw, Three Phase Center, Stone Ridge, NY 2018 Eleven Modes of Decomposition by Brian McCorkle, Three Phase Center, Stone Rodge, NY 2018 The Obstructionist: Empathy Blinders & Dramatic Object Making with Elizabeth Lamb & David Ian Bellows / Griess, Three Phase Center, Stone Ridge, NY 2018 Thinkers & Doers Feminist Workgroup with Ernest Goodmaw, Havarah Zawoluk and Anna Hafner, Three Phase Center, Stone Ridge, NY 2017 The Shirt Factory Centennial Performance & 3rd Floor Pop Up, The Shirt Factory, Kingston, NY 2016 Animal Maximalism Performances at Green Kill, Green Kill, NY 2016 Alice Teeple, Now Is Real , Star House Gallery, NY 2015 Owen Harvey, The Local Gallery, Kingston, NY 2015 Recent Paintings by Chad Gallion , Star House Gallery, Kingston, NY 2015 Through The Lens : The Sudbury Photo Show, Star House Gallery, Kingston, NY 2014 Adam & Jeff: An Abstract Painter and His Mentor , Star House Gallery, KIngston, NY 2014 Parallel Places: Owen Harvey / Michael Hunt , Star House Gallery, Kingston, NY 2014 The Cedar Tavern Phone Booth Show, Star House Gallery, Kingston, NY 2013 Isaac Abrams / Kelly Bickman , Star House Gallery, Kingston, NY 2013 Narrative , Star House Gallery, Kingston, NY 2013 Artist Talk: Kerry Mueller , Star House Gallery, Kingston, NY 2013 Diagnosis: Artist , Star House Gallery, Kingston, NY ​ Awards/ Fellowship 2022 - Rensselaer Graduate Fellowship Bibliography - Widman, Theresa. "Nina Isabelle - Artist, Thinker, Observer." I want What She Has . 2 Aug. 2021. Podcast. - Beetle & Freedom Walker. The Black Meta- Psychic Self-Defense: Artist, Nina Isabelle" 4 May. 2021. Podcast. Radio Kingston WKNY. -Santullo, Kerry. “‘Meet The Makers - 5 Minutes with Artist Nina Isabelle.’ "Children's Museum of the Arts New York, 21 Oct. 2020, cmany.org/blog/view/5-minutes-artist-nina-isabelle/ . - Hynes Institute for Entrepreneurship & Innovation, and Danny Potocki. "E-talk with Nina A. Isabelle." YouTube. YouTube, 15 Oct. 2020. Web. 22 Dec. 2020. -"The Shape of a Feeling & the Language of Organizational Structures." The Esthetic Apostle. October 2019. Web https://www.estheticapostle.com/the-shape-of-a-feeling -https://www.greenearts.org/no-nudes-no-sunsets-a-photography-exhibition-opens-august-11/ - Varalla, Adriana. "12th Annual NYC Anarchist Art Festival." /anarchistbookfair.net/sites/default/files/Anarko%20Lab%202018%20PRESS%20RELEASE.pdf -Bresnan, Debra, "Activating Perception - Nina A. Isabelle." MAD Kingston. May 2017. Web -"GALERII Eesti Performance'i Grupp Non Grata Esines New Yorgi Anarhismi Festivalil."Õhtuleht. N.p., 24 May 2017. Web. 26 May 2017. - Elissa Garay, "Kingston: Capital of Culture." Chronogram. March 2017: p. Print. - Mills Messner, Heather. "Featured Artist Nina Isabelle." Aife Media Fall/Winter 2016: p.22-23. Print - Josh, Ryder, and Rutigliano Dario. "ARTiculAction Art Review // Special Issue." Issuu. Articulaction Art Review, Jan. 2016. Web. - Rutigliano, Dario, and Josh Ryder. "Nina Isabelle." ARTiculAction Art Review Jan. 2016: 124-49. Print. - Isabelle, Nina A. "Fashion Trends." Goodlife Youth Journal 5.1 (2016): p.20. Print. - George, James. "Nina Isabelle at Falls Church Arts, Bold & Bright." Arlington Art Examiner. 2014. Web. - Malcolm, Timothy. "Stumps For The Outsider." Record Online. Times Herald-Record, 13 Sept. 2013. Web. - Gussin, Bruce. "If It Isn't Not Broken Don't Unfix It." Blog post. Life and How to Live It. 5 Dec. 2010. Web. ​ ​ Residency 2006 Artist in Residence, Gunnison Art Center Summer Residency Program, Gunnison, CO ​ Workshops 2018 Movement Metaphors Time Traveling Workshop, Healing + Art / Radical Domesticity, Kingston, NY 2017 Experimental Archery & Mark Making, Rosekill, Rosendale, NY 2017 Metaphors of Movement, Body Systems, Disease, and Society, Grace Exhibition Space, Brooklyn, NY 2015 The Silent Mass Generator Workshop with Clara Diamond, GES Archive 411 Studio, Kingston, NY Teaching 2014-2016 Photography, Hudson Valley Sudbury School Photography CO-OP, Kingston, NY 2016 Art History & Ideas, HVSS Art History CO-OP, Kingston, NY 2016 Introduction to Digital Photography, The Shirt Factory, Kingston, NY 2003-2006 Modern Dance, Gunnison Arts Center, Gunnison, CO 2006 Oil Painting Workshop, Crested Butte Center of the Arts, Crested Butte, CO 2006 Oil Painting Workshop, Gunnison Arts Center, Gunnison, CO 1988-1990 Kids Photography and Dark Room, Woodward Camp, Woodward, PA ​ ​ References -https://cmany.org/blog/view/5-minutes-artist-nina-isabelle/ -Hynes Institute for Entrepreneurship & Innovation, and Danny Potocki. "E-talk with Nina A. Isabelle." YouTube. YouTube, 15 Oct. 2020. Web. 22 Dec. 2020. - anarchistbookfair.net -https://www.greenearts.org/no-nudes-no-sunsets-a-photography-exhibition http://www.greenearts.org/patricia-fields-artfashion-show-comes-to-catskill/ https://madkingston.org/2017/05/09/nina-a-isabelle/ http://us6.campaign-archive2.com/?u=9bbde55ac06fd4ebf2c0424ae&id=ef278b43c7 http://bangkokundergroundcinema.com/day-3-bridge/ https://justsituations.wordpress.com/ http://www.ivcastellanos.com/feminist-art-group/ http://romansusan.org/following/all/romansusan.org/Property https://madkingston.org/reframed-ritual-nina-isabelle-3715/ https://www.timeout.com/san-diego/things-to-do/the-dead-are-not-quiet-and-the-haunted-art-of-t-jefferson-carey http://artisbeing.com/blog/2016/9/28/san-diego-art-institute-the-dead-are-not-quiet-gallery-exhibiton https://greenkill.org/2016/10/12/nina-isabelle/ http://www.artlifekingston.com/blank-e19y5 http://cicamuseum.com/artist-and-location/ http://www.jennidachase.com/2016/09/21/sn-participates-in-the-cica-artist-location-exhibition-in-gyeonggi-do-korea/ ​

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... SOLVERMATH A conceptual math model tha t proves the improbability of knowing what you’re doing Click HERE to access the Sense-Object Intake Form. Wooden Block with Wire Object 1 Rubber Ball Object 2 Steel Wool Object 3 Brick Object 4 Bolt Object 5 Axe Head Object 6 Soup Can Object 7 Light Bulb Object 8 Bees Wax Object 9 Polyfill in Plastic Object 10 Superfund Site Specimen Object 11 Purple Glass Object 12 Pear Wood Object 13 Field Crystal Object 14 Sheet Steel 5.5"x7"x.25" Object 15 Pressure Treated Spindle Cut-off Object 16 Leather-bound Cowboy Book Object 17 Sea Rock Object 18 Interactive Frequency-Generator Tool To use: Click green arrow & drag finger across bar to produce tones. Click red X to stop LINK TO SENSE-OBJECT INTAKE FORM Solvermath in an interactive experience that allows the human body to identify tones in potential relationship to physical objects. The experience involves either viewing a virtual object or holding a physical object while interacting with a frequency-generator tool* capable of producing up to 20kHz. ​ The human body is a sophisticated and responsive module capable of intermediating, detecting, and deciphering variables outside the realm of its awareness. Solvermath uses relational math to reveal an absence of relation between sense-informed response and sense of knowing. The project is inspired by Gödel's theorems concerning the limits of provability which say that “it is impossible to give a meta-mathematical proof of the consistency of a system comprehensive enough to contain the whole of arithmetic unless the proof itself implies rules of inference different in certain essential respects from the transformation rules used for deriving theorems within the system” and that “any other system within which arithmetic can be developed, is essentially incomplete because there are true number-theoretical statements that cannot be derived in the system.” ​ The initial phase of Solvermath collects data from individual human interactions with the frequency-generator tool and the sense-objects. The second phase uses a redesigned version of relational math to form a conceptual math model that describes the space between awareness and action, and aims to highlight the improbability of knowing what we're doing. To participate, open the Google form through this link in either a separate window, on a separate screen, or other device. Keep this page open so that you can use the frequency-generator tool above. In the form on the second screen or device, you will see images of each sense-object. Using the interactive frequency-generator tool on this page, find the Hz frequency (or range of frequencies) that you sense correspond to the visual image (for remote participants) or the physical object you are holding in your hand (for those participating physically.) Enter the numbers into the form field associated with each image. To use the interactive frequency-generator tool, slide the finger back and forth on the bar from 1Hz - 20,000Hz. Click the green arrow to sense & hear the sound. Click the red X to stop the frequency. You'll notice the Hz number changing as the finger slides back and forth. You may also enter any number between the two arrows to experience a frequency between 1 Hz and 20 kHz. The frequency-generator tool produces tones that travel through the air as waves that the human body can detect through somatic listening. The experience is not designed to be used with head phones or earbuds. If you are participating remotely, view each image while interacting with the tone-generator tool and choose the tone (or range of tones) you feel represent the object in the image. Enter the Hz number(s) you identify with each object into the form with the corresponding image. For those who have access to the physical objects, hold the object in one hand while sliding a finger back and forth on the frequency-generator tool. You may detect a vibrating sensation in the hand-held object in response to certain frequencies or within a range of frequencies. Enter the numbers of the frequencies you notice into the form. Please enter your real or fake name, the real date, and indicate either "Remote" or "Physical" for each entry. After you submit the form, you will see the message "Thank you for participating with Solvermath! Your response has been recorded." This means your submission has been accepted and recorded. You may participate as many times as you like. ​ Email questions or comments to Nina Isabelle at isaben@rpi.edu or to schedule physical access to sense-object set. *frequency generator designed by Tomasz P. Szynalski / modified by Brian McCorkle

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... oUT iN tHE zONE NYC ANARCHIST PERFORMANCE ART EXHIBITION #11 JUDSON MEMORIAL CHURCH, NYC MAY 12, 2017 PHOTOS BY WALTER WLODARCZYK ​ walter-wlodarczyk-2017-05-13-_87A3101 Nina A. Isabelle - Anarchist Performance Art #11 at Judson Memorial Church, NYC 2017 (photo: Walter Wlodarczyk) walter-wlodarczyk-2017-05-13-_87A3103 Nina A. Isabelle - Anarchist Performance Art #11 at Judson Memorial Church, NYC 2017 (photo: Walter Wlodarczyk) walter-wlodarczyk-2017-05-13-_87A3085 Nina A. Isabelle - Anarchist Performance Art #11 at Judson Memorial Church, NYC 2017 (photo: Walter Wlodarczyk) walter-wlodarczyk-2017-05-13-_87A3092 Nina A. Isabelle - Anarchist Performance Art #11 at Judson Memorial Church, NYC 2017 (photo: Walter Wlodarczyk) walter-wlodarczyk-2017-05-13-_87A3095 Nina A. Isabelle - Anarchist Performance Art #11 at Judson Memorial Church, NYC 2017 (photo: Walter Wlodarczyk) 18319281_318426008575701_4965584380399255762_o

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... CLICK HERE TO SUBSCRIBE TO NINA A. ISABELLE'S QUARTERLY EMAIL TO CONTACT NINA A. ISABELLE USE THE MESSAGE FORM BELOW: Email sent to Nina A. Isabelle Send

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... TEN THOUSAND OBJECTIVES I was interested in trying to figure out how the body knows what it knows — specifically, the somatic experience of tangible material, the cognitive experience of intangible concepts, and the interplay between these four variables. I was also interested in how repetition seems to create the potential to sidestep consciousness, and I wanted to experiment with that notion to see if I could access different modes of perception or ways of knowing by engaging in a repetitive action for an extended length of time. In setting up the framework for this performance, I mapped out and identified all the parameters that I was able to. I decided on the timeframe and squared off the surface area of my work space. This gave me a way to control the tangible aspects of the performance. By laying out this semi-structured plan, I hoped to create a situation where intangibles and surprises could occur. Starting in the middle of an eighteen foot square of floor space, I set out to make one thousand pinch pots within a span of four hours. I imagined the pots would fill the entire work space and somehow be equally distributed. I counted the pots as I went along and kept track of them in ten groups of ten — something I realized was necessary as I went along and realized would be the only way for me to know when I was done. I was surprised to find that, at the end of the four hours, and down to within a few minutes, I had made the exact amount I set out to make. While I was working, the span of four hours seemed to shrink down to about the feeling of twenty minutes. These are the types of perceptive phenomena I’m interested in working with and demonstrating. How did these things happen so exactly with such little planning? How and why does time seem to stretch or contract depending on levels of engagement, intention, and focus? ​ Things can be objects or subjects. While objects are tangible things abstracted from the particularness of subjects, subjects are the intangible concepts or notions we extract from objects. How do we process the intangible sense data we extract from encountering objects made of particles in the physical dimension and what do we call this process? What are the internal mechanisms we use to govern how we locate and position our physical selves in relation to objects in space? ​ For this project, I constructed and deconstructed a batch of 10,000 intangible and tangible subjects and objects as a way to set both their physical and nonmaterial aspects free. Through forming a set of 1,000 physical objects made of clay with my hands, the conceptual intangibleness of their essence was simultaneously set free and bound as it transformed into material form. Conversely, intangible concepts were released from physicality through the gestural motions accompanied by the transmutation of 9,000 subjects into nonmaterial objects. Equinox: EMERGENCY OF JOY - 10,000 THINGS SET FREE ​ Seventy one artists from around the world work together remotely and simultaneously over the spring Equinox. Organized by Chelsea Burton, Rae Diamond, Erik Ehn, Brenda Hutchinson, Suki O’Kane, “Ten thousand is rooted in the Buddhist concept of the ten thousand dharmas – an image for all observable reality." ​ MARCH 19, 2020 11:49 PM EST - MARCH 20, 2020 1:49 AM EST (Equinox at 11:49 PM EST) ​

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... UNITY THE LACE MILL ​ KINGSTON, NY MAY 6, 2017 ​ The UNITY show is a partnership of artists from along the Cornell Street corridor — the Shirt Factory, Pajama Factory, Brush Factory, Cornell Street Studios and The Lace Mill — whose works will be exhibited at The Lace Mill’s East Gallery and West Gallery, 165 Cornell Street, Kingston. The show’s opening reception will be held Saturday, May 6 from 5 p.m. to 8 p.m. Disciplines include painting, sculpture, ceramics, performance, installation, music, and dance, video, puppetry for kids, and sonic meditation. Artwork, like Election Night March 2017 by Leslie Bender, at right will be featured. A closing reception the following on Saturday, May 13 from 5:30 p.m. to 8 p.m., features live performance-based art such as dance, video and music. Inspired by the newly launched Midtown Arts District (MAD) last year, Lace Mill community arts liaison Sarah Carlson and Shirt Factory events coordinator Lisa Kelley started discussing the possibilities of joining forces to create a dynamic group show of the buildings’ artists while also supporting the mission and initiatives of MAD. Carlson explains, “I wanted to do a show that was about what we have in common, rather than what divides us, and to have that conversation as a community. It seemed sweet to open that dialogue to the arts corridor right here and a nice way for us to dialogue about what’s happening on the local national stage. As artists, that’s what we do.” Kelley adds, “I love Sarah’s idea for bringing our artists together with the theme of unity. Over the last year, the Midtown Arts District and Mike Piazza’s artist factory buildings have supported this kind of collaboration between artists. I believe we’re planting some fertile seeds for exciting partnerships in the future.” Over two dozen artists will participate in UNITY.

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... MISC. VIDEO e845 / November 7, 2016 ​ ​ Candle Sounds / July 16, 2016 ​ ​ The Hollow Stump / November 7, 2016 ​ ​ Domestic Loops / November 1, 2016 ​ ​ At The Ashokan Reservoir / March 2016 ​ Double Slit July 16, 2016 1:01 ​ Referencing the magical incantation “As above, so below” from Hermetic Alchemy and Thomas Young’s original Double-Slit Experiment from 1801, Double Slit asks- does science suggest that man’s actions on earth might parallel actions within infinite multiple invisible lateral physical dimensions? ​ The Long Sounds That Pull December 5, 2016 7:00 ​ This is modified sensory input that has been stretched between several physical and psychic locations referencing a double decade point three cassette recorded postal anniversary edition. The original human mouth sound recording was placed in a landfill located at latitude 38.643708 / longitude -107.006703 ​ The Story Of Terror / The Ax In The Stump March 16, 2016 3:16 ​ The Ax in The Stump tells the story of Terror- as both a fabled horse from a North Indian Fairy Tale and the torture that can ride through family histories for generations.

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... THE GIANT DRESS IQ TEST MELISSA LOCKWOOD & NINA ISABELLE ​ The Giant Dress is the world's largest handmade all-cotton patchwork double-pocketed sleeveless up-cycled floral summer dress constructed in under four hours flat. KINGSTON, NY / MAY 2017 IQ Test Melissa Lockwood Firing tiny ceramic vessels in a fire at Rosekill with The Giant Dress. The Giant Dress The Giant Dress hanging on The South Barn at Rosekill Performance Art Farm in Rosendale, NY The Giant Dress Sewing The Giant Dress at The Shirt Factory Studio in Kingston, NY The Giant Dress Nina Isabelle with The Giant Dress at The Shirt Factory Studio in Kingston, NY

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... SEEMRIPPER A conceptual video-performance demonstrating artist as self replicator The Elizabeth Foundation As Far As The Heart Can See Curated by Nicolás Dumit Estévez October 2018 Seemripper was produced using The Self-Limiting Conceptual Video Production Process; a system that interlaces action, duration, direction, speed, sound, color, sequence, subject and object to form a linear audio and visual arrangement. The Self-Limiting Conceptual Video Production Process was designed as a system to sidestep consciousness in order to access lateral dimensions of awareness and is a continuation of The Video Manifestation System released by Human Trash Dump in January 2018. The video-performance frames the artist as a self replicator caught in a recursive loop of infinite destruction and renewal generated by the physical and quantum relationships between fire, water, air, metal and earth. This project was initiated by Linda Mary Montano as part of 'In Honor Of,' a performance series Curated by Nicolás Dumit Estévez Raful with curatorial fellow JP - Anne Giera at The Elizabeth Foundation in New York City on October 20, 2018. Performers were nominated by artists featured in 'As Far As The Heart Can See' (Nao Bustamante, Billy X. Curmano, Irina Danilova & Project 59, Beatrice Glow, Ivan Monforte, Linda Mary Montano, Praxis (Delia & Brainard Carey), Beth Stephens & Annie Sprinkle, and Martha Wilson & Franklin Furnace Archive) and include former mentees, current students, assistants and younger artists whose work they admire: Elena Bajo Bajo, Sindy Butz, Larissa Gilbert, Nina Isabelle and Xinan (Helen) Ran.

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... PAINTINGS 2016 20-2016 22x30, oil paint on paper 19-2016 22x30, oil paint on paper 18-2016 22x30, oil paint on paper 17-2016 22x30, oil paint on paper 16-2016 22x30, oil paint on paper 15-2016 22x30, oil paint on paper 14-2016 22x30, oil paint on paper 13-2016 22x30, oil paint on paper 12-2016 22x30, oil paint on paper 11-2016 22x30, oil paint on paper 10-2016 22x30, oil paint on paper 9-2016 22x30, oil paint on paper 8-2016 22x30, oil paint on paper 7-2016 22x30, oil paint on paper 6-2016 22x30, oil paint on paper 5-2016 22x30, oil paint on paper 4-2016 22x30, oil paint on paper 3-2016 22x30, oil paint on paper 2-2016 22x30, oil paint on paper 1-2016 22x30, oil paint on paper 1/1

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... CAVE GIRL ​ FAKE PHOTO DOCUMENTATION OF PROFESSIONAL NON-PERFORMANCE BASED PERFORMANCE All information including location, artist, photographer, subject, process, object, intention, dimensions, medium, duration, software, hardware, is unimportant and disallowed. ​ JULY 9, 2017 Documentation #1 Location, artist, photographer, title subject, and intention are undisclosed and unimportant. Documentation #2 Location, artist, photographer, title subject, and intention are undisclosed and unimportant. Documentation #3 Location, artist, photographer, title subject, and intention are undisclosed and unimportant. Documentation #4 Location, artist, photographer, title subject, and intention are undisclosed and unimportant. Documentation #5 Location, artist, photographer, title subject, and intention are undisclosed and unimportant. Documentation #6 Location, artist, photographer, title subject, and intention are undisclosed and unimportant. Documentation #7 Location, artist, photographer, title subject, and intention are undisclosed and unimportant. Documentation #8 Location, artist, photographer, title subject, and intention are undisclosed and unimportant. Documentation #9 Location, artist, photographer, title subject, and intention are undisclosed and unimportant.

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... LAUNDRY LOOPS (JOB) ​ IV SOLDIER'S F.A.G. (FEMINIST ART GROUP) PANOPLY PERFORMANCE LABORATORY ​ NOVEMBER 3, 2016 (Lorene Bouboushian, IV Castellanos, Amanda Hunt, Kaia Gilje, Nina Isabelle) Photos: Brian McCorkle LAUNDRY LOOPS // JOB // F.A.G. //PPL Laundry Loops JOB // IV Soldier's F.A.G. at Panoply Performance Laboratory November 3, 2016 Photo: Brian McCorkle LAUNDRY LOOPS // JOB // F.A.G. //PPL Laundry Loops JOB // IV Soldier's F.A.G. at Panoply Performance Laboratory November 3, 2016 Photo: Brian McCorkle LAUNDRY LOOPS // JOB // F.A.G. //PPL Laundry Loops JOB // IV Soldier's F.A.G. at Panoply Performance Laboratory November 3, 2016 Photo: Brian McCorkle LAUNDRY LOOPS // JOB // F.A.G. //PPL Laundry Loops JOB // IV Soldier's F.A.G. at Panoply Performance Laboratory November 3, 2016 Photo: Brian McCorkle LAUNDRY LOOPS // JOB // F.A.G. //PPL Laundry Loops JOB // IV Soldier's F.A.G. at Panoply Performance Laboratory November 3, 2016 Photo: Brian McCorkle LAUNDRY LOOPS // JOB // F.A.G. //PPL Laundry Loops JOB // IV Soldier's F.A.G. at Panoply Performance Laboratory November 3, 2016 Photo: Brian McCorkle LAUNDRY LOOPS // JOB // F.A.G. //PPL Laundry Loops JOB // IV Soldier's F.A.G. at Panoply Performance Laboratory November 3, 2016 Photo: Brian McCorkle LAUNDRY LOOPS // JOB // F.A.G. //PPL Laundry Loops JOB // IV Soldier's F.A.G. at Panoply Performance Laboratory November 3, 2016 Photo: Brian McCorkle LAUNDRY LOOPS // JOB // F.A.G. //PPL Laundry Loops JOB // IV Soldier's F.A.G. at Panoply Performance Laboratory November 3, 2016 Photo: Brian McCorkle LAUNDRY LOOPS // JOB // F.A.G. //PPL Laundry Loops JOB // IV Soldier's F.A.G. at Panoply Performance Laboratory November 3, 2016 Photo: Brian McCorkle LAUNDRY LOOPS // JOB // F.A.G. //PPL Laundry Loops JOB // IV Soldier's F.A.G. at Panoply Performance Laboratory November 3, 2016 Photo: Brian McCorkle LAUNDRY LOOPS // JOB // F.A.G. //PPL Laundry Loops JOB // IV Soldier's F.A.G. at Panoply Performance Laboratory November 3, 2016 Photo: Brian McCorkle LAUNDRY LOOPS // JOB // F.A.G. //PPL Laundry Loops JOB // IV Soldier's F.A.G. at Panoply Performance Laboratory November 3, 2016 Photo: Brian McCorkle LAUNDRY LOOPS // JOB // F.A.G. //PPL Laundry Loops JOB // IV Soldier's F.A.G. at Panoply Performance Laboratory November 3, 2016 Photo: Brian McCorkle LAUNDRY LOOPS // JOB // F.A.G. //PPL Laundry Loops JOB // IV Soldier's F.A.G. at Panoply Performance Laboratory November 3, 2016 Photo: Brian McCorkle LAUNDRY LOOPS // JOB // F.A.G. //PPL Laundry Loops JOB // IV Soldier's F.A.G. at Panoply Performance Laboratory November 3, 2016 Photo: Brian McCorkle LAUNDRY LOOPS // JOB // F.A.G. //PPL Laundry Loops JOB // IV Soldier's F.A.G. at Panoply Performance Laboratory November 3, 2016 Photo: Brian McCorkle LAUNDRY LOOPS // JOB // F.A.G. //PPL Laundry Loops JOB // IV Soldier's F.A.G. at Panoply Performance Laboratory November 3, 2016 Photo: Brian McCorkle 1/2

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... EXPERIMENTAL ARCHERY & MARKMAKING WORKSHOP ​ @ ​ R O S E K I L L June 10, 2017

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... TIME TRAVEL RESEARCH REPORT PANOPLY PERFORMANCE LABORATORY BROOKLYN, NY / FEBRUARY 4, 2017 This video documents time travel research conducted at The Panoply Laboratory in Brooklyn, NY on February 4, 2017 and is part of Panoply Laboratory's ongoing research practice initiated in 2014 titled Embarrassed of the Whole. By distorting temporal local perceptions the practice facilitates quantum nonlocality and manipulates the phenomenon of local realism in order to solve for one variable question: "Affectionately to what affect affectively?" Lab Technicians - Kaia Gilje, Nina A. Isabelle, Brian McCorkle, and Esther Neff Soundscape - Brian McCorkle Participant Subjects - Amelia Iaia, IV Castellanos, Jon Konkol, and Alice Teeple Photography - Amelia Iaia, Alice Teeple, and Nina A. Isabelle Video documentation and editing - Nina A. Isabelle Time Machine Etow at PPL Embarrassed of the Whole Time Travel Research February 4, 2016 Panoply Performance Laboratory Photo: Alice Teeple Time Machine Etow at PPL Embarrassed of the Whole Time Travel Research February 4, 2016 Panoply Performance Laboratory Photo: Alice Teeple Time Machine Etow at PPL Embarrassed of the Whole Time Travel Research February 4, 2016 Panoply Performance Laboratory Time Machine Etow at PPL Embarrassed of the Whole Time Travel Research February 4, 2016 Panoply Performance Laboratory Photo: Amelia Iaia Time Machine Etow at PPL Embarrassed of the Whole Time Travel Research February 4, 2016 Panoply Performance Laboratory Photo: Alice Teeple Time Machine Etow at PPL Embarrassed of the Whole Time Travel Research February 4, 2016 Panoply Performance Laboratory Photo: Amelia Iaia Time Machine Etow at PPL Embarrassed of the Whole Time Travel Research February 4, 2016 Panoply Performance Laboratory Photo: Amelia Iaia Time Machine Etow at PPL Embarrassed of the Whole Time Travel Research February 4, 2016 Panoply Performance Laboratory Photo: Amelia Iaia Time Machine Etow at PPL Embarrassed of the Whole Time Travel Research February 4, 2016 Panoply Performance Laboratory Photo: Amelia Iaia Time Machine Etow at PPL Embarrassed of the Whole Time Travel Research February 4, 2016 Panoply Performance Laboratory Photo: Amelia Iaia Time Machine Etow at PPL Embarrassed of the Whole Time Travel Research February 4, 2016 Panoply Performance Laboratory Photo: Amelia Iaia Time Machine Etow at PPL Embarrassed of the Whole Time Travel Research February 4, 2016 Panoply Performance Laboratory Photo: Amelia Iaia Time Machine Etow at PPL Embarrassed of the Whole Time Travel Research February 4, 2016 Panoply Performance Laboratory Photo: Amelia Iaia Time Machine Etow at PPL Embarrassed of the Whole Time Travel Research February 4, 2016 Panoply Performance Laboratory Photo: Amelia Iaia Time Machine Etow at PPL Embarrassed of the Whole Time Travel Research February 4, 2016 Panoply Performance Laboratory Photo: Amelia Iaia

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... Handmade Book 1992 7x9 ​ This book was made using vintage photos, construction paper, and resin coated photo paper sent through a Xerox machine, map scraps, and electrical, scotch, and masking tape. I used a sewing machine to stitch it together. The book had been in storage for years and I decided to document it. ​ ​

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... SHAPE OF A FEELING Photographs of Piles by Nina Isabelle COLLECTION STARTED NOVEMBER 12, 2018

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... ACTIVATING PERCEPTION - NINA A. ISABELLE MIDTOWN ARTS DISTRICT by Debra Bresnan May 10, 2017 ​ https://madkingston.org/2017/05/09/nina-a-isabelle/ ​ When did you first know you were an artist? Growing up people referred to me as an artist and so I became one – an experience that made me aware of the power of language, perception, belief, and social programming, all themes in my current work. It’s possible that if I had grown up in a different environment I might have been an engineer because as an artist I’m always working with how things like concepts of memory and phenomena articulate with visual and spatial perception, language, materials, and meaning and how to build generative dialogue between these factors. Where an engineer might work with materials, data, or electricity, as an artist I use a similar approach but with different variables. ​ Favorite medium(s) you use to make art? My favorite art medium is probably the phenomena of perception and how language builds reality. Right now my focus is on working to manipulate and bend notions surrounding the value and usefulness of art away from commodity and towards structures that represent essential and social value. Inside of this, working with painting I can still have an intention to study gesture, motion, and look for new languages that might emerge from this action and mark making or find new information in whatever emerges. I like to get my hands on chunks of materials like vats of clay, lumber, bolts of fabric, or discarded machine parts and sort of grapple with the stuff until it gives in to another form. Sometimes I might start out with an intention or give myself an assignment, but other times I let myself generate information by engaging with materials and paying close attention as I go. ​ Since I work pretty equally with photography, video, design, performance, installation, and painting, nothing is really off limits to me. I grew up at a summer camp for kids where we had an arts and crafts department with a ceramics studio, photo lab, leather tools, batik, enamels, silk screens, and fabric dye, among others. Nine months out of the year these departments were vacant and I really made the best of it – I learned to use the kiln and glazes by haphazardly blowing up and melting a lot of stuff, mixing chemistry by taste, a lot of other experimental and dangerous learning-by-doing that has carried over to my current approach. I never read instructions as a younger person because I couldn’t really read until I went to college. I’m rarely intimidated by new things, and I think that’s one of my favorite things about my development and approach. What are the most interesting new trends in your field? Is your work changing as a result? One of the most exciting things I notice right now is a shift toward recognizing the social value of art as a tool to reframe reality through community building, open sourcing ideas and data, and through things like artist collectives and working together with other artists and community members. In the art world, there are always these superficial fads like geometric shapes or graffiti, or some new trendy material, or something everyone is doing like such-and-such, but my work doesn’t usually wind up aligning itself with those sorts of cultural flows. I don’t usually find myself in trendy circles — something that has made it difficult to find a community but also has led me to the point where I am now. I recognize that, all along, my running mission has been to challenge outmoded institutional and economic systems that have grown regulated and insular and to work to build systems to replace these. Artists are always pressing hard against hierarchal structures like gender, race, and social class: It seems like the discord generated by our new political administration is influencing a lot of art thinking these days. ​ Talk about your creative process ­– where/when do you get most of your ideas and how do you know a piece is ‘finished’? My creative process is rooted pretty firmly in letting myself respond instinctively. One thing I often find myself doing is trying to destroy rosy notions that abound around creativity being “beautiful.” Being a person who has given birth to babies I recognize the mess, blood, and pain that goes along with creativity. I have a lot of ideas and mostly I choose to go with the ones that make me laugh about myself or our collective idiocy. I also like to work with themes that irk me such as fake systems of legitimization we use to determine success, such as university degrees, financial values and the gender and power imbalances that seem to perpetually skew the art world. ​ Making art objects like paintings and sculptures, and grappling with material and concepts together, I’ve questioned the point of it beyond decoration or commodity and have come to understand my process as a personal tool that lets me understand reality in a way that I can integrate. Working with materials and visual information puts me in touch with deeper threads of meaning, and nuances of life that fortify the tapestry. I’m drawn toward this way of working and thinking because there seems to be something I can’t quite say in writing or speaking, something linear language can’t quite get at. I don’t know what it is yet and that’s what keeps me engaged. ​ As far as recognizing when something is finished, I think it’s just a matter of paying attention to a subtle feeling of “doneness,” or arriving at a comfortable stopping point or a feeling of resolve – like I’ve figured something out or said what I meant to say. Sometimes a stopping point might never come because maybe I’ve gone down on a dead-end path. I have a lot of projects in limbo because they’ve become overwhelming or I’ve lost interest, things I can always get back to at any point. And, in a quantum way, things can never be finished because time isn’t linear and there’s no such thing as an end point. ​ Do you also teach or are you strictly a creative artist? Who was your most influential mentor and why? How do you see the role of being a mentor? and why? In the past, I’ve taught art classes like photography, modern dance, and painting or movement workshops. There is always a technical entry point where students spend time learning about say, the camera machine, visual mechanics, basic movement patterns, or just becoming familiar with materials, and this can be a fun and engaging way for people to come together. But I always want to move further into dialogue about how the usefulness of these art tools and practices can be more than a fun pastime or therapeutic hobby. Art offers invaluable ways to shift perception and find new vantage points. As an artist, I collaborate with others in several capacities that seem more like mutual mentorship, where we share and build upon each other’s momentum and concepts. I’m not sure that I’ve ever fit the part of strictly a mentor to another, but I do recognize people who’ve inspired me. I had a couple high school teachers who helped me to evade attendance, something that in a typical case might not sound helpful, but I really recognize and value people who have taken risks in order to do the right thing morally. School is not a good place for all children. ​ I can’t say that I’ve ever had a strong relationship with an individual mentor, but something that intrigued me early on was finding and building obscure relationships between seemingly unrelated artists and their work. I remember wondering about Käthe Kollwitz’s Woman With Dead Child in relationship to Henry Moore’s sculptures and sheep sketchbook, and Jim Dine’s Robes. Somehow the similar volume expressed in these works was curious to me, possibly as a subconscious desire to connect the physical form of my body to their work because I’ve always been athletic. I was also intrigued by industrial design and how humans interact with tools and objects, especially mid-century chairs like the Eames Lounger and Bertoia’s designs as a framework for simultaneously supporting physical and thought forms together. So in a way, I’ve let this sense of wonder guide me. What are you working on now? For the past year, I’ve been working on a project called The Superfund Re-Visioning Project . It’s an experimental framework that aims to transform contaminated industrial sites recognized by The United States Government as Superfund Sites. In New York State there are 117 of these sites. I’m developing a project that aims to create a platform for artists and community members who might otherwise be marginalized by political and financial systems that typically deal with these sorts of remediation. ​ I’m also involved with an artist collective developed by IV Castellanos called The Feminist Art Group (F.A.G.) from Brooklyn, and plan to invite them to Kingston this summer for one of The Shirt Factory Open Studio events. Currently, I have a show at the new HiLo gallery space in Catskill and like to participate in local shows at The Old Glenford Church Studio . I think it’s great when things like The UNITY show curated by Sarah Carlson and Lisa Barnard Kelley between the artists at The Shirt Factory and The Lace Mill come together to fortify community connectedness. Upcoming, I have work being featured by The Unstitute in Catalunya, Spain and plan to do something fun at Paul McMahon’s Mothership Gallery this fall. Recently my focus is moving into sound and auditory perception. I’ve become interested in digitally degraded sound snippets and obscuring auditory input to the point of noise in a way to find out what’s behind and within the experience of sound. ​ For more information about my work and listings of recent/current exhibitions, projects and collaborations, please visit www.ninaisabelle.com/cv . ​ How has being in Kingston enhanced/inspired your work? What do you like best about living in Kingston/being involved with MAD? How long have you been here? Kingston has a lot to offer artists and community members and is building momentum as an arts-branded district. Recently we’ve seen several exciting places pop up like David Schell’s Green Kill , Rilley Johndonnell’s Optimism concept, Broadway Arts , The Art/Life Institute on Abeel Street , and Kingston High School Art teacher Lara Giordano, who is exhibiting student work at PUGG on Broadway. The surrounding landscape is diverse and inspiring conceptually because of the Hudson River waterways, The Catskill Mountains, The Ashokan Reservoir, and the surrounding forests, hiking, and rail trails. The Mid-Hudson Library system is phenomenal, and it’s easy to travel back and forth to New York City from Kingston. It’s great to have artist studio spaces like The Shirt Factory and The Lace Mill which offer affordable living spaces for artists, and especially new organizations like MAD that are forming to support this new movement. ​

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... RINGING IN EARS OCTOBER 2022

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... Q:ENTITY Performed at Panoply Performance Lab on April 23, 2016 by Nina Isabelle and Clara Diamond Photos by Geraldo Mercado & Brian McCorkle Q:Informaticus at PPL Q: Informaticus Panoply Performance Laboratory APRIL 23, 2016 Nina Isabelle & Clara Diamond Photo: Brian McCorkle Q:Informaticus at PPL Q: Informaticus Panoply Performance Laboratory April 23, 2016 Nina Isabelle & Clara Diamond Photo: Brian McCorkle S1950155 Q: Informaticus Panoply Performance Laboratory April 23, 2016 Nina Isabelle & Clara Diamond Photo: Brian McCorkle Q:Informaticus at PPL Q: Informaticus Panoply Performance Laboratory April 23, 2016 Nina Isabelle & Clara Diamond Photo: Brian McCorkle Q:Informaticus at PPL Q: Informaticus Panoply Performance Laboratory April 23, 2016 Nina Isabelle & Clara Diamond Photo: Brian McCorkle Q:Informaticus at PPL Q: Informaticus Panoply Performance Laboratory April 23, 2016 Nina Isabelle & Clara Diamond Photo: Brian McCorkle Q:Informaticus at PPL Q: Informaticus Panoply Performance Laboratory April 23, 2016 Nina Isabelle & Clara Diamond Photo: Brian McCorkle Q:Informaticus at PPL Q: Informaticus Panoply Performance Laboratory April 23, 2016 Nina Isabelle & Clara Diamond Photo: Brian McCorkle Q:Informaticus at PPL Q: Informaticus Panoply Performance Laboratory April 23, 2016 Nina Isabelle & Clara Diamond Photo: Brian McCorkle S1950125 Q: Informaticus Panoply Performance Laboratory April 23, 2016 Nina Isabelle & Clara Diamond Photo: Brian McCorkle Q:Informaticus at PPL Q: Informaticus Panoply Performance Laboratory April 23, 2016 Nina Isabelle & Clara Diamond Photo: Brian McCorkle Q:Informaticus at PPL Q: Informaticus Panoply Performance Laboratory April 23, 2016 Nina Isabelle & Clara Diamond Photo: Brian McCorkle S1950173 Q: Informaticus Panoply Performance Laboratory April 23, 2016 Nina Isabelle & Clara Diamond Photo: Brian McCorkle S1950169 Q: Informaticus Panoply Performance Laboratory April 23, 2016 Nina Isabelle & Clara Diamond Photo: Brian McCorkle S1950132 Q: Informaticus Panoply Performance Laboratory April 23, 2016 Nina Isabelle & Clara Diamond Photo: Brian McCorkle Q:Informaticus at PPL Q: Informaticus Panoply Performance Laboratory April 23, 2016 Nina Isabelle & Clara Diamond Photo: Brian McCorkle Q:Informaticus at PPL Q: Informaticus Panoply Performance Laboratory April 23, 2016 Nina Isabelle & Clara Diamond Photo: Brian McCorkle Q:Informaticus at PPL Q: Informaticus Panoply Performance Laboratory April 23, 2016 Nina Isabelle & Clara Diamond Photo: Geraldo Mercado 1/2 This project aimed to locate new information and vantages through allowing a process that seeks and acknowledges the emergence of scientifically unverifiable perceptive experiences that result in useful information. Through building awareness of alternative forms of perception and by implementing unusual sensory input modalities, such as ritual, breath, Hz, cryptography, pseudo-algebra, dowsing, the concept of The Q: Entity emerged and “Q” became understood as a unit of measurement expressing a quantifiable amount of information that might result in an equation intended to facilitate a circular energy exchange between The Q: Entity and its constituents. A Silent Mass Generator Workshop was held on November 7, 2015 and the public interacted with the physical mass inside of a fabricated soundscape designed by the artists, in collaboration with experimental musician Christina Diamond, to loop through electronic frequencies correlating to the physical body chakra system as an electronic gong wash activating the complete chakra system fourty-six times. By the hands-on manipulation of the donated material for a span of five hours and fourty-four minutes, the ephemeral energies of participants were interwoven into The Q: Entity. A performance on Saturday November 21, 2015 aimed to build connections with constituents by transmitting unsubstantiated and unrecognizable forms of energetic information. THE Q:ENTITY THE LINDA MARY MONTANO ART/LIFE INSTITUTE KINGSTON ​ NOVEMBER 21, 2015 Q:Informaticus, a division of The Q:Entity Corporation, is designed to generate constituents as information receptacles programmed to solve unreal and/or otherworldly problems. Q:Informaticus directs functional information along proper dispersal channels activating the psychic conduits of multiple physical bodies. Activation originates at the coccyx and rises through the spine while keeping operational residence within the instinctive functioning portions of the guts, heart, and brain meat, matter, fluid, and circuitry using complex interlaced bacteria and neuroelectric pathways programmed to transmit and receive local and non-local information. The sensory input perception manifolds within all programmed constituents will evolve and transform comfortably to reduce validation of information received through the physical portals known as eyeballs, tongue, ears, and skin. Alternative modalities of perception will be established and activated. Q:Informaticus: for people who want to solve unreal and / or otherworldly problems. There are few career paths, be it scientific research, business, design, medicine, the fine arts, or telecommunications, in which Q won't play an important part of your work. Healthcare specialists use Q records to help diagnose disease and discover new ways of treating patients. Advertising firms use Q data to create visualizations of customer behavior. Environmental scientists compile big Q data to track the impact of climate change. Smartphones are awash with Q apps that can do everything from pay your bills to find the next band you might like. All of those applications and much more are Q: informaticus in action putting Q to work to solve complex problems. Utilizing Q: informaticus to study Q technology impacts academic disciplines in the science, arts, medicine, business, and telecommunications fields. Q is also one of the fastest growing fields in technology, and the demand is high. Last year alone, 88 percent of Q: informaticus constituents secured full-time employment within six months. Among students holding Master's degrees or a Ph.D., 98 percent accepted employment within six months of graduation. In a world of stagnating salaries, Q: informaticus constituents also enjoy an average salary. Q:Informaticus lays out a bright, flexible, structural path to a future and imparts valuable real-world experience and works side-by-side with some of the most innovative thinkers in the field. Q: informaticus prepares, excites, severs programming, technologizes, and generates futures. THE SILENT MASS GENERATOR WORKSHOP GES #411 ARCHIVE SPACE ​ NOVEMBER 6, 2015 The Silent Mass Generator Workshop incorporated the public to assemble, build and incorporate physical mass within an experimental simulated mindfulness environment. The duration of the workshop spanned 5 hours and 44 minutes inside of The Grace Exhibition Space Shirt Factory Studio #411. There was no speaking, eating, or drinking. Participation was not required, participants were free to come and go, or stay for a portion of the workshop. The workshop was designed to distract the subconscious mind by the tedium of cutting, ripping, and tying material to form long strands in order to facilitate the entry into a mindful, meditative, psychic space. The project explored the development and agenda of interwoven notions of communal beliefs, material dynamics, possibilities of non-linear physical travel implied through numbers expressing location using longitude and latitude, the metaphor of breath in relation to inspiration and language styles expressing give-and-take or push/pull communication patterns, the articulation of verbal concepts in relation to the movement between ball-and-socket joints such as the hips and shoulders during the birthing-process, as well as the documentation of scientifically unsubstantiated effects of focused intention and ritual action in non-physical reality such as memory, deja-vu, and other phenomena of psychic imprint. An experimental soundscape designed with Christina Amelia Diamond acted as an electronic gong wash intended to initiate 23 cycles of ordered energetic body activation using specific Hz. Other auditory Information within the noise composition was generated by The Entity. Speaking was disallowed at The Silent Mass Generator Workshop. The Entity thanks Jeanie Antonelle, Undine Brod, Leonard Fujiyama, Hillary Harvey, Mor Pipman, and Christina Varga for their contribution of materials. more info. CALL FOR MATERIAL DONATIONS ​ SEPTEMBER 25, 2015 The Entity seeks donations of scrap, waste, or unsellable materials such as fabric cut-offs, twine, rolled or spooled material, rope, ribbon, thread, or anything that is in long strands or could be cut and tied to form long strands. The nature of the project has lead to the present development of an official CALL FOR DONATED MATERIALS. The Entity also seeks donations of traditional artist’s materials as well as non-toxic industrial materials which might be repurposed. The upcoming phase of the project includes an opportunity for community participation with an interactive component in the form of a silent workshop intended to build physical mass through the hands-on manipulation of donated material. The workshop will be free and open to the public. FEEDING THE ENTITY ​ MARCH 2015 Feeding The Entity explores the development and agenda of interwoven notions of communal beliefs, material dynamics, possibilities of non-linear physical travel implied through numbers expressing location using longitude and latitude, the metaphor of breath in relation to inspiration and language styles expressing give-and-take or push/pull communication patterns, the articulation of verbal concepts in relation to the movement between ball-and-socket joints such as the hips and shoulders during the birthing-process, as well as the documentation of scientifically unsubstantiated effects of focused intention and ritual action in non-physical reality such as memory, deja-vu, and other phenomena of psychic imprint.

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... FAMILY SOUNDS THE UNGOVERNABLE ZONE ​ FORT TILDEN ​ ANARKO ART LAB AND ARTI NYC ​ Nina A. Isabelle / The Ungovernable Zone at Fort Tilden Beach / NYC Fort Tilden is a defunct United States Military base now listed as NYC accessible ruins along the coast in Queens. ​ As an inquiry into motherhood, "Family Sounds" involved a site-responsive approach to the superimposition of an internal childhood landscape onto the defunct Ft. Tilden military base along with self-reflexive research referencing quantum nonlocality, interpretive movement, and the manipulation of physical material to align intention with action as evolved ritual. To start, I visited my childhood home in central Pennsylvania and collected audio samples like gunshots, piano, flute, and conversation. I also collected materials from an old family barn such as safety nets, camouflage burlap, industrial Velcro, and vinyl pieces. I used these materials to construct a giant robe and from the audio samples I melded a cacophonic multilayered soundscape as a way to create a tethered telepathic multigenerational connection. During the performance I blinded myself under the giant robe and bent my psyche into the constructed auditory and kinesthetic dimensions where I psychically postscribed childhood memories as a way to explore motherhood. One challenge of working this way is that documentation and integration of unlanguageable data uncovered along the way becomes difficult as perceptions expand beyond the framework of linear languages. ​ PHOTOS BY JAIME ROSENFELD JULY 8, 2017

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... SILVER GELATIN PRINTS 1989-1999 A Collection of gelatin silver prints made from photograms, handmade negatives, and experimental darkroom photographic processes. Mother Selenium toned silver gelatin print toned silver gelatin print toned silver gelatin print Selenium toned silver gelatin print 7x9 toned silver gelatin print toned silver gelatin print Selenium toned silver gelatin print 7x9 toned silver gelatin print prismacolor on toned silver gelatin print toned silver gelatin print sepia toned silver gelatin print toned silver gelatin print toned silver gelatin print toned silver gelatin print Selenium toned silver gelatin print 7x9 1/1