Filed under Physical Space

Heather D. Freeman, September 23 – October 4, 2013

Heather D. Freeman, Terminal


Heather D. Freeman is Associate Professor of Digital Media at the University of North Carolina – Charlotte where she teaches digital print, animation, video, installation and drawing. She grew in Skillman, New Jersey and was heavily influenced by her parents’ careers in the sciences. She holds a B.A. in Fine Art and German Studies from Oberlin College and an MFA in Studio Art from Rutgers University.  Previously, Freeman worked as an art director, graphic designer, editor and animator in New York and New Jersey.  She also taught art, graphic design and visual rhetoric since 2001 at various institutions including the University of Kentucky and Clemson University. Her work is regularly exhibited regionally and nationally and has appeared in international exhibitions in Canada, China, Cuba, Germany, Hungary, New Zealand, Sweden and Thailand.  More of her work can be viewed at and




I was always interested in the language and symbolic forms of science and where these intersect with mythic, religious and popular iconographies. With the birth of my son Quinn in 2008, this interest shifted to the linguistic growth of children. As a two-year-old, my son’s language skills went through a developmental explosion, and I found myself cataloguing his verbal discoveries. I reinterpreted my son’s language-defined worldview by taking his interests (trucks, dinosaurs, owls, playgrounds, etc.) and translating them into my own concerns (sustainable energy, ecological diversity, social justice, etc.) These became portraits of my son’s shifting Weltanschauung.

My son’s language skills metamorphose as he grows. As his ability to express the world matures, so accrue his fascinations, from construction equipment to video games, from monsters to death. As his relationship to a complex society matures, my relationships as a mother also evolve.

I find myself investigating old interests (science, human history, popular culture) through the lens of motherhood, with all its self-doubts, flailing, and absurdity contrasted with deep assurance. My son’s growth constantly re-defines motherhood for me, just as the changing nature of childhood re-shapes my investigations of the non-familial world.


Jonathan Rattner, September 9 – 20, 2013

Jonathan Rattner - Terminal


Jonathan Rattner is a lens-based artist who primarily produces experimental nonfiction film and videos.  His material usually consists of fragmentary images of the everyday, which are reassembled into unexpected configurations in an effort to draw attention to the forgotten, the ignored, the banal, and the unseen. In his work, Rattner seeks to offer an open and elastic aesthetic experience that reimagines our physical and temporal landscape and invites viewers to interact with what they see and to create meaning by reflecting on their own experiences, ideas, and truths.

end, end, end: 2013

8 minutes, 45 seconds

end, end, end is a cinematic essay about the dying of a loved one, inability to make coffee, and the desire to remember things that have been forgotten. It is a work woven around a found audio recording of an American Poet using his voice to mark, in various ways, the beginning and end of his analog audio reels.


FOR ISSA: 2012 video

11 minutes, 14 seconds

A travelogue composed as a series of visual haikus in the spirit of 19th century Japanese poet and wanderer Issa.   Through a distillation of impressions, the haiku poets of Issa’s time sought to express moments in a crystallized state. In order to capture experience as a unity and totality, the haiku structure consisted of two elements: the first represented the object, condition, or situation; the second represented perception. The desired result was a nexus of self and world.

Footage for this work was gathered over a two year period from various locations, including Thailand, Japan, New York, Iowa, Oregon and Tennessee.


all night looking

at my wrinkled hands

autumn rain


— Issa —


Black & Jones, April 22 – May 10, 2013

2001 Retold, Black & Jones

 visit Black & Jones’s Site


Our work is based on several assumptions; first, that life is good, second, that two artists working together are better than one working alone, and third, that information is there for the taking. That said, we seek to create new works from both existing and original audio-visual information.

We are part of a long line of collage theorists extending from Kurt Schwitters to Kara Walker, from John Cage to Brian Eno.

Using the techniques of digital sound and video editing – both in the studio and in live performances – our work explores the history of cinema, the culture of the Internet, the richness of language, the pervasiveness of music and all the ways in which media intersect and interact to create new languages expressive of our time.

In 2001 Retold, we ripped a dvd of Kubrick’s classic film 2001: A Space Odyssey and divided it up by dvd chapters. We then asked a variety of people to watch one chapter and recorded their retelling of the narrative. The original movie was then re-edited to match this retelling.

2001 Retold – Chapter 12 from Black and Jones on Vimeo.

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Lei Han, April 8 – 19, 2013

Lei Han Terminal


Lei Han is a new media artist, educator and designer. Fascinated by the influences of eastern philosophy in western art, especially in modern and contemporary art, her recent work aim for creating the cohesion between spirituality and creativity, and as well as making new connections between artist, viewer and object/subject. Lei’s current work, in experimental video, digital animation, video art and interactive video installation, has been exhibited at galleries, museums, and film festivals nationally and internationally. Including Krannert Art Museum, the Arts Center, St. Petersburg, Asheville Fine Arts Theater, North Carolina Visions, and Shenzhen & Hongkong Bi-City Biennial, China.

Lei received her BA in fashion design from Shenzhen University in China and her MFA in computer arts from Memphis College of Art. She is currently Assistant Professor of Multimedia Arts and Sciences at the University of North Carolina at Asheville and board member of The Media Arts Project.


Rosa Menkman, March 18 – April 5, 2013

Rosa Menkman Terminal


Every technology possesses its own inherent accidents. Rosa Menkman is a Dutch artist/theorist who focuses on visual artifacts created by accidents in both analogue and digital media. The visuals she makes are the result of glitches, compressions, feedback and other forms of noise. Although many people perceive these accidents as negative experiences, Menkman emphasizes their positive consequences.
By combining both her practical as well as her academic background, Menkman merges her abstract pieces within a grand theory artifacts (a glitch studies). Besides the creation of a formal “Vernacular of File Formats“, within her static work, she also create work in her Acousmatic Videoscapes. In these Videoscapes she strives to connect both sound and video artifacts conceptually, technically and sometimes narratively.
In 2011 Rosa wrote the Glitch Moment/um, a book on the exploitation and popularization of glitch artifacts (published by the Institute of Network Cultures), organized the GLI.TC/H festivals in both Chicago and Amsterdam and co-curated the Aesthetics symposium of Transmediale 2012. Besides this, Rosa Menkman is pursuing a PhD at Goldsmiths, London under the supervision of Matthew Fuller and Geert Lovink.


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Valerie Sullivan Fuchs, March 4 – 15, 2013

Valerie Fuchs Terminal


Valerie Sullivan Fuchs ( is an artist who works with film, video, video installation, sound, and sculpture to encounter the industrial and electric forms, which mediate our direct relationship with nature, the land and each other. Her work has been shown at “Transparencies and Trans-formations in Contemporary American Art,” U.S. Embassy, Stockholm, Sweden (2010-11); New Albany Public Art Project: Bicentennial Series, New Albany, Indiana (2010-11); Contemporary Arts Forum, Santa Barbara, California (2007); Non Grata Film and Video Festival, Pärnu, Estonia (2006); Galerie Eugene Lendl, Graz, Austria (2005); BELEF Art Festival, Belgrade, Serbia; and “Presence,” Speed Art Museum, Louisville, Kentucky (2005). She has received grants from the Sony Corporation, the Kentucky Arts Council (Al Smith Individual Artist Fellowship), and the Kentucky Foundation for Women. Sullivan Fuchs’ work has been reviewed in Art Papers, Dialogue, American Theatre, the Louisville Courier-Journal, the Louisville Eccentric Observer, and MIT’s electronic journal Leonardo. Beauty Unlimited, 2012 an anthology published in 2012, included a review by Fuchs.  She has published articles in Pitch Magazine and the Louisville Eccentric Observer.  Fuchs is a full-time Lecturer with the Fine Art College’s School of Art & Visual Studies, at the University of Kentucky.


boys don’t cry from Valerie Fuchs on Vimeo.

boys don’t cry, 2008, 3:23; is a collaboration between artist Valerie Sullivan Fuchs, choreographer David Ingram, and musician Ben Sollee.  David Ingram who has collaborated with Valerie Sullivan Fuchs on several projects including work with the Ft. Wayne Ballet in Ft. Wayne, IN and the Louisville Ballet dancers in Empujon. Ben Sollee and Valerie Sullivan Fuchs have collaborated on other works, ‘Western|Western’, 2008, and ‘I Need’ which premiered at the Speed Art Museum in 2009. Special thanks to William Morrow, director of the 21c Museum, for introducing David Ingram, Ben Sollee and myself and for encouraging our collaboration. Collection Laura Lee Brown & Steve Wilson.


Western|Western! from Valerie Fuchs on Vimeo.

Western|Western, 2008,8:06; is collaboration with Ben Sollee where I asked him to play his cello with a rifle.

This piece was inspired while I was thinking about Western culture, and this question,  ‘How can it be that such beautiful cultural artifacts like the cello, violin, and such destructive ones like guns, exist in the same culture?”

So I invited Ben Sollee, whom I had met through William Morrow, the then the director of the 21c Museum, to meet me at a recording studio and play his cello, with my husband’s 22 rifle.  Luckily he agreed, and even though the rifle Ben bowed was 5.5lbs, he managed to play for over an hour creating amazing improvised sounds despite the weight and awkwardness of the rifle.

Collection of Brook Smith.


a horizontal line makes a stable image, 2007, Valerie Sullivan Fuchs from Valerie Fuchs on Vimeo.


a horizontal line makes a stable image, 66 seconds, 2007

After my grandfather died, I inherited 70 years of family 8mm films. While viewing them, I realized I developed new memories of my mother’s childhood without my being there, or her being present to contextualize them. I began to work with these films, in part, to understand the passing of time but also to visualize the energy or the shape of it within my family’s recorded history.

In a horizontal line makes a stable image, I digitized and edited these family 8 mm films into clips of my mother, then I layered these clips into 42 overlapping layers so I could visualize the arc and energy of her life in 66 seconds.  This memorial to my mother includes the sound of the last 66 seconds of a piano piece she played often at my request.  Each note is edited into an arc where the first note would play forward and then would repeat in reverse.  The destabilization and destruction of the shape of a family after the death of a loved one happens over time and continually reforms like the memories of them.

This was a part of  “Finding Family”; curated by Karen Gillenwater,  21c Museum, Louisville, KY & Mount Sterling, KY’s Gateway Regional Art Center

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Morgan Higby-Flowers, February 18 – March 1, 2013

Morgan Higby-Flowers - Terminal



Morgan Higby-Flowers is an American artist based currently in Clarksville,Tennessee. He
received an MFA in Electronic Integrated Arts from Alfred University in 2011 and a BFA in
New Media Arts from The School of the Art Institute of Chicago in 2008. Morgan has
participated in multiple exhibitions including GLI.TC/H in Chicago and The Bent Festival
in Brooklyn NY. He recently performed live in the parking garage of the Museum Of
Contemporary Art for The Dirty New Media Round Robbin in Chicago, Illinois. He is
currently a visiting assistant professor of New Media Art at Austin Peay State University
in Clarksville,TN.



My interests circulate around particular areas of the New Media Art spectrum,
specifically, work that incorporates discarded technologies. My aesthetic sensibility
tends to pursue encounters with wonderment, combining visual representations with new

I use obsolete technology to create “no-input” systems that produce their own inherent
visual and audial elements. Antiquated AV equipment is devalued in our society where
“newer is better.” An item that was priced at ten thousand dollars in 1983 is perceived as
trash in 2013. Analog technology is inherently more malleable than digital. In my work,
antiquated machines create new and informed back leaps forward.

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Charles Woodman, February 1 – 15, 2013

Charles Woodman - Terminal


Charles Woodman has been working in the field of Electronic Art for more than twenty years and has been a Professor of Fine Arts at the University of Cincinnati since 1999.

His recent projects have concentrated on the integration of video in live performances, often in collaboration with musicians or dancers, and on the creation of video installations for museums and galleries.

Exhibitions of his work include screenings at the Block Museum of Art in Chicago, the New Interfaces for Musical Expression conference in Vancouver, Canada, the Black Maria Film and Video Festival, Edison, NJ, the American Dance Festival in Raleigh, NC, the San Francisco Cinematheque, and the Museum of Modern Art in New York.


On Friday February 1 at 6 pm Woodman along with Barry Jones, Morgan Higby-Flowers and Aaron Hutchenson will be performing live video at the Coup in Clarksville.


Woodman was founding member of the video performance group viDEO sAVant and is currently working on the design of a new instrument for use in real time performance, a “gesture based interface for real-time control of video playback.”

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Michelle Given, January 17 – February 2, 2013

Michelle Given - Terminal


In this suite of videos Michelle Given investigates the intricacies of sexual tension, specifically its attendant feelings of anticipation, frustration and anxiety. She questions what is more fulfilling or agonizing— never getting what one desires, or obtaining the object of one’s desire only to find that it did not meet one’s expectations? Does the subject inLure hold the fishing pole, or is she dangling from the hook? In Chase, what are the ultimate goals of the participants— would satisfaction be achieved for the subjects or the audience if the actions were to be completed? If so, how profound or superficial would that fulfillment be? The videos’ subjects exist in a state of limbo, working towards or waiting for a culmination of their actions, a release that never comes. Given wants the videos to be alluring as well as disconcerting so as to echo the push/pull of the works’ basis.

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