April 25, 2008

Replenishing Body project video

September 19, 2007

The Replenishing Body

An interactive video installation created in collaboration with Evian, The Replenishing Body consists of a grid of squares (5x5) which can each record a 1 second loop of film. Participants can create and orchestrate a giant composite moving creature, or simply a collage of moving snapshots by recording a close-up section of their body part. The grid starts empty at the beginning of the installation and becomes a constantly changing collorative artwork. Grids are periodically uploaded to a gallery which can be viewed on http://www.showstudio.com

Check out the full project here (and see higher quality movies)

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August 15, 2003


DARE is an interactive installation piece designed and created specifically for the American Museum of the Moving Image in New York. The exhibition has run from June 19th until October 26th, 2003 in the Museums’ Warner Room.

DARE, the title of which refers to the Italian verb "to give" and the English verb meaning "to be bold”, consists of four touch-screens and a video projection. Each screen is interface and display: they require action as well as observation, writing as well as reading. At the opening, the exhibit was essentially a black canvas, awaiting and inviting visitors to be participants and to play along. On the other hand, on October 26th at the end of the show, it included stories told through a sequence of marks and images that recreate the past and the present of those museum visitors who in four months interacted with it. DARE creates its own documents, its own accounts of itself and its own records of those who contributed to its making.

DARE consists of four pieces: GRID and FACE, that relate to images, whereas DRAW and MODE relate to gestures and the creation of lines or marks. All pieces are playful; they all record user’s interactions onto a hard disk with a date and time stamp. These can all be recreated as a time based sequence.

Text Taken from

I was responsible for Grid and Face which have since been used in various other situations.

See here and here for further description of individual pieces.

Museum of the Moving Image (MOMI)

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September 22, 2001


Taken from ARt&D - Research and Development in the New Art Practice (Paperback) by Joke Brouwer (Author)

GRID allowed users to input a short video sequence into one of its grid rectangles, which then looped repeatedly, until someone else decided to re-record over the same grid rectangle.

The effect of GRID was of an evolving and complex set of repeating patterns – a matrix of differently looped actions, often created by different people at different times, each with their own internal phase patterns. The whole thing adds up to a novel kind of polyrhythm, a compelling visual music of syncopating facial expressions and body movements created by the audience for the audience.

GRID, like the TRIPTYCH piece mentioned above, is an unwitting descendant of Krueger’s REPLAY, the VIDEOPLACE interaction which grabbed a 16 frame silhouette sequence from the audience whenever the system detected motion, and then looped it back and forth until the next motion detection occurred. But REPLAY, according to Krueger’s description of it, is a simpler work, so simple that it might be argued that it fails to fully realize its potential. We have already seen how for Krueger, as for many artists who program, the invention phase, the creation of the basic idea, can become the end of the process, rather than the beginning of a new phase of applied creativity. Ross Phillip’s GRID on the other hand starts simply, but goes on to build complexity from this simple base by overlaying and juxtaposing loops together day by day for 4 months, and in doing so creates an artwork which is full and resonant and satisfying. In the way it uses full images rather than silhouettes, by putting the moving images into a spatial relationship with each other across the grid and by giving the artwork a memory, GRID empowers it’s audience to make a personal and collective statement, while the artwork as a whole constitutes a statement about the nature of interactivity and authorship.

You can see a (slightly) interactive version of the grid here.

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