golferInABottle is part of a series of works entitled Sand Traps and other Hazzards which feature animations created from videos of golfers. The animation for golferInABottle stars a golfer swinging his club while playing at a golf course in the Adirondaks in upstate New York. The animation is projected into an empty gin bottle chosen for its aesthetic and reflective qualities. The site chosen for the performance was a beach along the Atlantic Ocean in Cape Hatteras National Seashore, North Carolina. The largest sand dune on the east coast is near Cape Hatteras at Jockey's Ridge State Park, North Carolina. This work was originally intended for that sand dune, however the Jockey Ridge dune is not immediately adjacent to the ocean. Instead, it faces a bay inlet . The piece in the exhibition Tremolo at Rick Wester Fine Art, NY, was created for gallery presentation. golferInABottle includes the video, pedestal, sand box, sand, gin bottle and aaxa p4 projector. Accompanying the standalone work is a Nixplay digital photo frame which plays the documentation of the original projection in a bottle on a sand dune in Cape Hatteras. The day I video recorded golferInABottle at Cape Hatteras was the day after the presidential election which allowed donald Trump to become President of the United States. A certain numbness set in and has accompanied me since that day. Numbness as a form of paralysis of the imagination. A black curtain descends. I did not stay up to watch the returns election eve fearing the worst. My fears were acknowledged the next morning. The night before a burnt out straggly haired ex-hippy was overjoyed with the early election results while waiting in line at the supermarket. Two young people were checking out the groceries. One had a flat top, wore an argyle pink, black and white sweater and wore round gold posts, exuding a soft masculinity. The old hippy didn't realize he was talking to a teenage girl or that she might not support trump. Hurricane Matthew hit Cape Hatteras in February 2015. Almost a year later there were still piles of collected debris including this household appliance dump which was across the street from the motel I stayed in which was repairing the bottom floor due to water damage. I inhabited a second floor room. There were a few other guests, fishermen who left their rooms about 5 in the morning. The motel had computer code door locks so there was no need for personnel to be present at the building.

The documentation on is a continuation of the video sculpture/installation work which I had been exhibiting in galleries, art fairs and museums prior to 2013. Examples of this work may be found on the website . The works on involve playing animations on various digital equipment at locations other than traditional art venues. Beginning around the year 2000 I began creating videos of figures performing activites, often mundane, against a solid color background. I originally animated the multi-frame photographs from Muybridge of human and animal movement to create simple video loops. I then began to video record people running, walking, working, playing golf, etc. The video is broken down into individual frames in a video editing program and then those frames are reworked in Photoshop, dropping out the background and replacing it with a solid color. This is called rotoscoping. The ability to play videos 'on location' has been aided by the recent production of battery operated video and multimedia players which can play videos from an internal memory or from a micro SD card. I have been able to use mp3 players, eReaders, android tablets, smartphones, micro projectors and even some older lcd monitors with the aid of AA battery packs.

The first series is titled "from here to there and back again" and involved driving across the United States. I chose ten locations for the exhibitions and matched ten videos and equipment with the destinations. Finding the actual final location for the video performance often required driving around multiple sites, so it was necessary to remain flexible before selecting the exact destination. In other words the imagined location for the performance did not match or come up to the physical reality so another site had to be found. The first location was a beach at Riis Park in Queens. I had not previously visited most of the locations such as the Rio Grand in Texas or Whitesands in New Mexico. The undulating hills surrounding Petaluma became the turn around point. I had been to the Badlands in South Dakota when I was 12 so this location involved a reminisence. "from here to there and back again" was carried out between the end of May and beginning of July in 2013.

The second series was based on a desire to complete a trip which I had made in 1978 when I travelled from Mexico to Bolivia before returning to the United States. One day while looking at pictures on the internet I came across images of the massive stone structure called Sacsayhuaman. I had been to Cuzco, Peru, and had seen Machu Picchu, but somehow had missed Sacsayhuaman, so this became the node around which the second series emanated. I began to add other sites to the list partially based on similarities to locations visited on the first trip. I decided to look for a tree in the Corcovado rain forest, so the Costa Rican ficus tree became a parallel to the Cyprus trees of Louisiana. In each of the 'tree' locations, I decided to play a sampled clip from a bette davis movie. I can't say that the rest of the locations were determined ahead of time in such a fashion, although I thought Panama City was an excellent analog to Las Vegas. It is a city which seems to have grown out of the tropical soils in a very exuberant form while Las Vegas sprung out of the sand to be a city one one million plus people. Both have gambling. The group of work entitled "SA" was executed between September 1 and October 5, 2015. I have included 11 sites in this group.

sketchesMisc is an open ended series of work. One of the pieces has given me insight into an idea about all the other video installations. In "an abbreviated history of United States military engagements after World War II", Breezy Point (Queens), Fort Tilden National Historic District I projected a video on the wall of a World War II bunker or gun emplacement. This large concrete structure has been covered with graffiti. When I projected the video on the smooth gray surface I realized that these projections were a form of graffiti. Marking. Tagging. Trace. No trace. The act of playing a specific video in a location is a way of tagging it. The documentation marks the spot.