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ENTROPIC FORCE: A Jewel for Evans Crown, Evans Crown Reserve, NSW, Australia, 2017
This is a photographic document of a site-specific digital projection installation onto “Crown Rock” at Evans Crown Reserve in New South Wales, Australia. To create this image, George projected an image of a locally mined emerald onto “Crown Rock" . The reserve is located in an area where vast swathes of land are devastated due to the mining of the precious and semiprecious stones found here. For the Wiradjuri Aboriginal people, it is a place of initiations and corroboree (celebrations). |
Crown Rock
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ENTROPIC FORCE: Land Waves - An Intervention with 'Field of Light,' Uluru-Kata Tjuta National Park, NT, Australia, 2017 Valerie captured Munro's installation by experimenting with non-conventional methods in photography. The result is a series of meta images that are otherworldly and seemingly multidimensional. They are exhibited as large scale still image projections. |
Bruce Munro, "Field of Light," 2016, Uluru, Australia
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ENTROPIC FORCE: Momma and Kuniya, the Great Water Python, Uluru-Kata Tjuta National Park, NT, Australia, 2017 (Stills from Video)
This video was created at Uluru-Kata Tjuta National Park in Northern Territory, Australia, specifically at the Mutitjulu watering hole. Uluru (a giant sandstone red rock that rises out of the Central Australian desert) has significance for all Aboriginal people because of its role in Tjukuritja or Creation Time. Aboriginal people believe that Mutijulu is a site for female strength, mourning, and healing. This belief is expressed through the story of Kuniya, the great Water Python Spirit who resides at Mutitjulu, who mourned the murder of her nephew and later defeats the army of snakes that killed him. The evidence of her battle is visualized in the rock. In this video, George holds up a hand drawn portrait of her mother and describes her mother’s story of loss, strength and healing to the spirit of Kuniya .
This video was created at Uluru-Kata Tjuta National Park in Northern Territory, Australia, specifically at the Mutitjulu watering hole. Uluru (a giant sandstone red rock that rises out of the Central Australian desert) has significance for all Aboriginal people because of its role in Tjukuritja or Creation Time. Aboriginal people believe that Mutijulu is a site for female strength, mourning, and healing. This belief is expressed through the story of Kuniya, the great Water Python Spirit who resides at Mutitjulu, who mourned the murder of her nephew and later defeats the army of snakes that killed him. The evidence of her battle is visualized in the rock. In this video, George holds up a hand drawn portrait of her mother and describes her mother’s story of loss, strength and healing to the spirit of Kuniya .
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Entropic Force: Her Heart Died and Time Stood Still, Daintree Wet Tropics World Heritage Area & Great Barrier Reef Marine Park World Heritage Area, QLD, Australia, 2017 (Stills from Video)
Valerie documented this piece at the rare site where these two eponymous World Heritage sites collide. The dead coral washed up on the shore. She walks it off the beach, through the rainforest, and introduces it to the ecosystem that represents various stages of 400 million years of plant evolution. Then, she returns the coral to the sea.
Valerie documented this piece at the rare site where these two eponymous World Heritage sites collide. The dead coral washed up on the shore. She walks it off the beach, through the rainforest, and introduces it to the ecosystem that represents various stages of 400 million years of plant evolution. Then, she returns the coral to the sea.
ENTROPIC FORCE: Traces of Newnes, Installation at BigCi Artist Residency, NSW, Australia, 2017
Shale oil industrial ruins in the ghost town of Newnes inspired these cardboard sculptures and projections. Newnes is located in the Wollemi National Park, New South Wales, Australia.
Shale oil industrial ruins in the ghost town of Newnes inspired these cardboard sculptures and projections. Newnes is located in the Wollemi National Park, New South Wales, Australia.
ENTROPIC FORCE: Somewhere Looking for the End of That Long White Line - Self Portrait with the Ghost of Walter De Maria, HWY183, Rising Star, TX, USA, 2016
This series is a homage to Walter De Maria's photographic calculations of distance, time, and space in relation to nature. This work also functions as an attempt to acknowledge the impact De Maria's artwork has on George's art practice.
This series is a homage to Walter De Maria's photographic calculations of distance, time, and space in relation to nature. This work also functions as an attempt to acknowledge the impact De Maria's artwork has on George's art practice.
ENTROPIC FORCE: Body on the Salt Flat - Meditation on Robert Smithson at 'The Spiral Jetty," Salt Lake City, UT, USA, 2016
This video documents an anthropomorphic piece of salty foam as it jiggles and glistens in the sun until its eventual disintegration into the wind.
This video documents an anthropomorphic piece of salty foam as it jiggles and glistens in the sun until its eventual disintegration into the wind.
ENTROPIC FORCE: Land Art and the Mortal Frame - Self Portrait with 'Sun Tunnels,' Great Basin Desert, UT, USA, 2016
This work directly relates to the formal compositions of the original work by Nancy Holt and its orientation to the mountains in the far distance. In this work, two projections reference the connection to the landscape, body, and sculpture. On the left, a torso mimics the anthropomorphic landscape that the tunnel obstructs, and on the right, a body becomes a reference for the sculpture itself, lying on its back in the desert.
This work directly relates to the formal compositions of the original work by Nancy Holt and its orientation to the mountains in the far distance. In this work, two projections reference the connection to the landscape, body, and sculpture. On the left, a torso mimics the anthropomorphic landscape that the tunnel obstructs, and on the right, a body becomes a reference for the sculpture itself, lying on its back in the desert.
"Sun Tunnels" by Nancy Holt, 1973-1976
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"Sun Tunnels" by Nancy Holt, 2016
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Detail
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Detail
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ENTROPIC FORCE: Land Art and the Mortal Frame - Self Portrait with 'Double Negative,' Moapa Valley, NV, USA, 2016
This work engages with the relationship between endangered public art forms, the environment, and impermanence. The piece investigates both the mortality of the Earth and the body by visually merging the two. This work suggests a rethinking of Michael Hiezer's work, feminizing his controversially masculine gash in the earth.
This work engages with the relationship between endangered public art forms, the environment, and impermanence. The piece investigates both the mortality of the Earth and the body by visually merging the two. This work suggests a rethinking of Michael Hiezer's work, feminizing his controversially masculine gash in the earth.
"Double Negative" by Micheal Heizer, 1970
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"Double Negative" by Micheal Heizer, 1970
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"Double Negative" by Micheal Heizer, 2016
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Detail
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ENTROPIC FORCE: Land Art and the Mortal Frame - Self Portrait with 'Amarillo Ramp,' Amarillo, TX, USA, 2016
This work explores the relationship of entropy with the earth and the body by a literal merging of them in visual form. Amarillo Ramp was Robert Smithson's final work, finished posthumously by his wife, Nancy Holt. Smithson died in a plane crash a mere few feet from this artwork. |
"Amarillo Ramp" by Robert Smithson, 1973
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"Amarillo Ramp" by Robert Smithson, 1973
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"Amarillo Ramp" by Robert Smithson, 2016
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Detail
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ENTROPIC FORCE: Land Art and the Mortal Frame - Self Portrait with 'Desert Cross,' El Mirage Dry Lake, Adelanto, CA, USA, 2016
This work explores the relationship between ephemeral art forms, mortality, site specific performance, and the notion of the "art document." Here, Valerie revisits the original site of Walter De Maria's ephemeral work, Desert Cross, and disrobes to document the cross tattooed on her upper thigh.
This work explores the relationship between ephemeral art forms, mortality, site specific performance, and the notion of the "art document." Here, Valerie revisits the original site of Walter De Maria's ephemeral work, Desert Cross, and disrobes to document the cross tattooed on her upper thigh.
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ENTROPIC FORCE: Mission 66 Meets the Sky, Shark Valley Observation Tower, Live Feed from Sunset to Midnight, Everglades National Park, FL, USA, 2016
Here, Valerie observes the Mission 66 modernist architectural interpretive site of the Shark Valley Observation Tower and reimagines the view it obstructs. On the left, Valerie projects a live feed of the setting sun onto the tower. On the right, the midnight sky.
Here, Valerie observes the Mission 66 modernist architectural interpretive site of the Shark Valley Observation Tower and reimagines the view it obstructs. On the left, Valerie projects a live feed of the setting sun onto the tower. On the right, the midnight sky.
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ENTROPIC FORCE: Mission 66 Meets the Sky, Long Pine Key and Flamingo, Everglades National Park, FL, USA, 2016
In a similar fashion to the piece at Shark Valley Observation Tower, Valerie observes the Mission 66 modernist screen based interpretive sites of the park and reimagines the view they obstruct. In the images above, she projects a live feed of the sky at sunset .
In a similar fashion to the piece at Shark Valley Observation Tower, Valerie observes the Mission 66 modernist screen based interpretive sites of the park and reimagines the view they obstruct. In the images above, she projects a live feed of the sky at sunset .
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ENTROPIC FORCE: Mystic Glades, Everglades National Park, FL, USA, 2016
In this series, Valerie projects original images captured in the park back onto itself.
In this series, Valerie projects original images captured in the park back onto itself.