New Media

PAST PRESENT TENSE (2019)

PAST PRESENT TENSE (2019)  
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Past Present Tense is a 2 channel, 12 minute video installation that tells the story of shared experience between two unnamed main characters, through the dual lens of their distinct and fractured memories. These two disparate accounts combine and interplay across the viewing area, overlapping the individual perspectives. 

MEMOIR (2009) 

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Memoir is an intimate account that intertwines the lives, and overlaps the contexts of two women, Eva and Denise. Using their stories as a foundation, Memoir reveals a larger narrative that explores the themes of loss and displacement, exposure and intimacy, and strength and regret that run beneath their biographies. As the title suggests, this film is structured to reflect the nature of memory, manipulating the space between truth and fiction, past and present. 

BOULEVARD (2007) 

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In Boulevard a strong sense of cinematic presence transitions from the visual language of collage to scripting and directing a highly intense narrative. Located in Los Angeles, we follow a striking woman, the passenger of a convertible car, driven by an unidentified driver through the city, passing its generic streets, billboards and motels, with an unknown destination. 

TENDERLY YOURS (2005) 

WEB BASED AUDIO / VIDEO. RUNNING TIME 10 MINUTES 
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Tenderly Yours resituates the personal, casual and ambiguous approach of French new wave cinema in a net art narrative that explores love, loss and memory. The story is recited by a striking and illustrious persona, who moves through the city with her lover. Her willful independence is intoxicating, though her sense of self is ambiguous. Here we encounter a series of filmic 'doubles', of French new wave cinema rendered as net art and in turn, of net art as cinema. Furthermore, there is a doubling of realization, of love at once found but then gone, and of the real and imagined states of loss. 

Triptych: Motion Stillness Resistance object

“Triptych: Motion Stillness Resistance” 2006. Randomly generated video sequencing object, medium-density fibreboard, black lacquer finish, Mac Mini, Cinema Display. 30.5" x 16.5" x 3.5"

Triptych: Motion Stillness Resistance is a generative, video-based triptych that explores three dynamics: motion, stillness and resistance. Each panel of Triptych focuses on one dynamic and uses these as visual metaphors for universal emotive and cognitive states taken from and reflecting my personal experiences. In Triptych three separate video streams run simultaneously in three panels. These videos are randomly chosen from a central database. 

Click on image to play video

ALBUM (2004) 
FROM THE NET.BASED EXHIBITION ENTITLED "PAUSE" 

WEB BASED AUDIO / VIDEO. RUNNING TIME 7 MINUTES 

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Unfolding as consciousness itself, ALBUM is a work of collected imagery and sound. This memory piece, which may be considered a condensed historical tracing, reveals a fictional biography that reflects upon the history of an individual recalling experiences of a life in the turbulence of the 20th century. 

INTERVALS (2004) 

COMMISSIONED FOR TURBULENCE.ORG 
WEB BASED AUDIO / VIDEO. RUNNING TIME 8 MINUTES 

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Intervals explores a series of characters whose investigation of self and identity unfold and elide through a sequence of cinematic interludes. Hovering through an amorphous landscape we begin by observing the mirror images of four animated figures. At once seductive and illusive, these portraits successively expose their most intimate selves through accounts of lost innocence, fear of the unknown, masculine ritual and the mystery of love. Here identity is subject to slippages, distortions, and to filmic alter egos that mimic and echo their subjects' memory. 

THE PRESENCE OF ABSENCE (2003) 

COMMISSIONED FOR THE WHITNEY MUSEUM'S ARTPORT 
WEB BASED AUDIO / VIDEO. RUNNING TIME 6 MINUTES 

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In Peter Horvath's films for the web a multi screened, quasi-narrative unfolds with the participation of the viewer. Many of his pieces examine family histories, the city as organism, matters of the heart and the complexities of connection or disconnection with others. His audiovisual reveries share some of the open-ended qualities of the films of Chris Marker, Jonas Mekas and Tarkovsky's The Mirror. With The Presence Of Absence the iconic face, etched with opaque information, is the key to navigating the site, just as we often read into the face of others for signs of recognition

UNEXPECTED LAUNCHING OF HEAVY OBJECTS (2003)

 
A PROJECT CONTRIBUTION TO "WARTIME" A PLANET WIDE COLLECTIVE EXHIBITION BY DIGITAL ARTISTS REFLECTING ON WAR. 
WEB BASED AUDIO / VIDEO. RUNNING TIME 2 MINUTES 

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In the WARTIME project, over fifty artists, individuals or groups, organizing through the internet, contribute pieces meditating and reflecting on war, past, present and future.

EITHER SIDE OF AN EMPTY ROOM (2002) 

COMMISSIONED BY THE MUSÉE NATIONAL DES BEAUX-ARTS DU QUÉBEC FOR THE PROJECTED INSTALLATION "ELLIPSE" 
WEB BASED AUDIO / VIDEO. RUNNING TIME 14 MINUTES 

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The multi-windowed environment of the web browser is employed to mimic random patterns of the thought process where disjointed associations are played out in a sometime distinguishable often undistinguishable looping of images and sounds. 

LIFE IS LIKE WATER (2002) 

FROM THE MOBILEGAZE.ORG EXHIBIT "MATTER AND MEMORY" 
WEB BASED AUDIO / VIDEO. RUNNING TIME 12 MINUTES 

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LIFE IS LIKE WATER begins with questions that trigger a state of doubt. Then a series of videos contribute to deepen this impression of spatial and temporal confusion. It becomes difficult to properly identify the situation. It makes us think of a dream, of memories coming back, or of near-death experience stories. 

THE GUIDE (1995) 

IMAGE AND TEXT BASED NARRATIVE. 

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The Guide can be accessed by clicking on the image of an old TV set; choosing a channel (by clicking on numbers) leads visitors to clippings from a TV guide; the attempt to provide two sentence summaries of movies is in itself humorous, and the fact that these decontextualized excerpts have no functionality for the medium they are presented in makes them even funnier.