We Can't Tell What We're Doing is the discovery of a process that eats itself and then absorbs information from its own bowels. Nina Isabelle. HiLo Catskill. HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... WE CAN'T TELL WHAT WE'RE DOING A recursive Installation event including painting, sculpture, performance, wearables, photo & video, explosions, and more. HiLo Catskill, NY June 20 - August 26, 2018 Through the superimposition of objects, photographs, video, action, painting, performance and narratives, We Can't Tell What We're Doing presses toward and hunts for a shift in meaning. This work is an inquiry and demonstration of a process that highjacks the past as a way to cultivate a future the way an AI robot might discover how to make sourdough bread out of itself. We Can't Tell What We're Doing is the discovery of a process that eats itself and then absorbs information from its own bowels. In attempt to manipulate spatial priority through ingesting inspections of object installation designed to illuminate internalized pockets of herniated or obstructed space where abstracted, impacted, and encrypted information and nutrient data might be stuck or diverted, this process reveals itself as a method that facilitates a solid flow of information that can be used to bind meaning and value to the motility of art in a regular way.

Nina A. Isabelle is a multidisciplinary artist working with abstract painting, performance art, video, photography, sound, and sculpture. HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... PROPERTY ROMAN SUSAN & ROGERS PARK / WEST RIDGE HISTORICAL SOCIETY APRIL 1, 2017 TELLERS I The women and girls from St. Henry's First Communion at 6235 N Hoyne Ave predict the future of the Devon Bank at 6445 N Western Avenue. 20x30 NINA A. ISABELLE February 2017 TELLERS II The women and girls from St. Henry's First Communion at 6235 N Hoyne Ave predict the future of the Devon Bank at 6445 N Western Avenue. 20x30 NINA A. ISABELLE February 2017 ALONG THE WAY Streicher and friends have been displaced. Transported by a drunken maritime time traveling expedition, the three men find themselves near the Chicago surface line sign at 2100 W Touhy Avenue. Peter Van Iderstein's boat, launched at at Greenleaf Avenue and Lake Michigan, has been repurposed as a time traveling vessel. NINA A. ISABELLE 20x30 February 2017 Roman Susan Art Foundation and the Rogers Park/West Ridge Historical Society will present a collaborative exhibit in Spring 2017 reflecting the way neighborhoods emerge and change as a result of land development. For this project, the Historical Society has placed 100 images from the Rogers Park/West Ridge photography archive into the creative commons. The exhibition will include repurposed and reimagined responses to the historical photographic archive. View the full selection of images dating from 1870 to 2005 here: https://www.flickr.com/photos/rpwrhs/sets/72157676302462950/ The selection of original images include photographs donated to the Historical Society from the collections of Leonard and Lillian Adler, Katherine Allen (née Dittmar), LeRoy Blommaert, Lillian M. Campbell, Ann Davis Dix, Gail Donovan, Paul and Jean Einsweiler, Fred Elisius, Dorothy Ferguson, Stephen C. Ferguson, Howard Frink, John Peter Geroulis, Ken Gustafson, Elizabeth Habman, Gladys Hoaglund (née Van Iderstein), Maryl Hook, Leslie Keeling (née Pollard), Anthony Kingman, James and Sally Kirkpatrick, Carmen Lara, Rasmus Larson, James C. McCabe, J. Curtis Mitchell, William Morton, Margaret Mary Muno, Marcella Polonsky, Jean R. Price, Sidney and Ann Rockin, Marie Roti (née Bornhofen), Richard Schaul, Grant Schmalgemeier, Marty Schmidt, Toni Sherman (née Albanese), George and Margot Striecher, Mel Thillens, Sr., Ceal Thinnes, Mary Thiry (née Mertens), Albert and Loretta Weimeskirch, Gerald Wester, John Winkin, the American Legion Rogers Park Post #108, Angel Guardian Orphanage, B'nai Zion Synagogue, George Buchanan Armstrong School of International Studies, Cook County Federal Savings & Loan, Devon Bank, Mundelein College (Loyola University Chicago), North Town Public Library, Rogers Park Women's Club, Philip Rogers School, RREEF Management Company, S&C Electric Company, St. Margaret Mary Archives, and Sullivan High School. Tellers I The women and girls from St. Henry's First Communion at 6235 N Hoyne Ave predict the future of The Devon Bank at 6445 N Western Avenue. Tellers II The women and girls from St. Henry's First Communion at 6235 N Hoyne Ave predict the future of The Devon Bank at 6445 N Western Avenue. Along The Way Streicher and friends have been displaced. Transported by a drunken maritime time traveling expedition, the three men find themselves near the Chicago surface line sign at 2100 W Touhy Avenue. Peter Van Iderstein's boat, launched at at Greenleaf Avenue and Lake Michigan, has been repurposed as a time traveling vessel.

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... THE FABRIC OF WOMEN'S SPACE-TIME THE LACE MILL WEST GALLERY, KINGSTON, NY MAY 13, 2017 Photo: Valerie Sharp Photo: Valerie Sharp Space and time are aspects of a single measurable reality called space-time. Matter and energy are two expressions of a single material. In Healing The Fabric of Woman's Space-Time a quilt becomes a framework for entering space-time and offers a way to mend reality. Nina A. Isabelle will sleep on a quilt in The Lace Mill's East Gallery from 5:30-8:30 PM on Saturday May 13th. Public participants are invited to embed their maternal grandmother's lineage into space-time by hand stitching initials or names into a galaxy dress in a process that punctuates phenomena by aligning intention with action. The quilt was hand made by Zula Hazel in Centre County Pennsylvania and was a gift to me from my Mother for my high-school graduation in 1991. It's been a part of multiple relationships, husbands, and births and has traveled extensively throughout the nation being tossed across deserts in Southern Utah and Nevada, sprawled along roadsides from California to Illinois, and matted down among hay fields and along river beds all throughout the Northeast.

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... MOTHER VS GOD A short creepy video by Nina Isabelle September 28, 2016 The Dead Are Not Quiet was organized by Scott Mitchell Putesky, an artist and musician best known for his work as the guitarist and co-founder of the musical group Marilyn Manson. the exhibition will run concurrently with “The Haunted Art of T. Jefferson Carey. Exhibiting Artists in The Dead Are Not Quiet include Addison Stonestreet, Alex Ingram, Alison Chen & Michael Covello, Anne Pelej, Cayce Wheelock, Clayton Llewellyn, Dakota Noot, Dan Adams, Daniel Corona, David Russell Talbott, Emily Hastings, Eric Potts, Garrett Wear, Hannah Johansen, Hugh Schock, Ivy Guild, Janice Grinsell, Jenya Armen, John Purlia, John Straub, Julia Oldham, Karim Shuquem, Kurosh Yahyai, Larry Caveney, Liza Hennessey Botkin, Lucas Novak, Maidy Morhous, Michelle Mueller + Erik Mueller, Natalie Meredith, Nathaniel Clark, Nina Isabelle, PANCA, Paul Koester, Philip Petrie, Rita Miglioli, Robin Spalding, Shahla Rose, Sheena Rae Dowling, Wick Alexander, and Yvette Jackson.

Videos by Nina Isabelle HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... MISC. VIDEO e845 / November 7, 2016 Candle Sounds / July 16, 2016 Domestic Loops / November 1, 2016 The Hollow Stump / November 7, 2016 At The Ashokan Reservoir / March 2016 Double Slit July 16, 2016 1:01 Referencing the magical incantation “As above, so below” from Hermetic Alchemy and Thomas Young’s original Double-Slit Experiment from 1801, Double Slit asks- does science suggest that man’s actions on earth might parallel actions within infinite multiple invisible lateral physical dimensions? The Long Sounds That Pull December 5, 2016 7:00 This is modified sensory input that has been stretched between several physical and psychic locations referencing a double decade point three cassette recorded postal anniversary edition. The original human mouth sound recording was placed in a landfill located at latitude 38.643708 / longitude -107.006703 The Story Of Terror / The Ax In The Stump March 16, 2016 3:16 The Ax in The Stump tells the story of Terror- as both a fabled horse from a North Indian Fairy Tale and the torture that can ride through family histories for generations.

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... MUSCULAR BONDING-PHOTO DOCUMENTS Adriana Disman, Nina Isabelle, Kaia Gilje, Beth Neff, Esther Neff, Edward Sharp M.A.R.S.H, St. Louis / Living Arts, Tulsa, OK February 15 - March 5, 2018 We traveled, lived, worked, and performed together for three weeks as a performance experiment conceived, initiated, and enforced by Esther Neff. On February 15, 2018 we drove from Panoply Performance Lab in Brooklyn, NY to M.A.R.S.H (Materializing & Activating Radical Social Habitus) in St. Louis, MO. We lived, worked, and ate together under strict and extreme circumstances, and then performed actions that were devised through collective manipulation to "materialize participant's structural realities" at The New Genre Art Festival at Living Arts Tulsa. Kaia Gilje & Adriana Disman carry a sheet of dry wall up a staircase at M.A.R.S.H. (Materializing & Activating Radical Social Habitus) in St. Louis, MO. Photo: Nina Isabelle

Nina A. Isabelle is a multidisciplinary artist working with abstract painting, performance art, video, photography, sound, and sculpture. HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... THE WOODSTOCK LIBRARY FLOATING BOUNCY CHAIR JUNE 2016 For the 85th Annual Woodstock Library Fair Hudson Valley artists were commissioned to repurpose a heap of old metal folding chairs for a silent auction to benefit the library. I made this floating bouncy chair using studio scraps and discount bungee cords from P&T Surplus in Kingston, NY. Fellow artist and Vice President of Friends of The Woodstock Library Michael Hunt says “It's the coolest motherfucking chair.”

The MKUVM audio file functions as human behavior modification designed to disarm protective fear-based reality programming in order to insert dangerous encrypte HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... THE GIANT MK ULTRA MIND CONTROL RABBIT PLAYS MKUVM Duration: 14 min. 44 sec. Created February 2017 The MKUVM audio file functions as human behavior modification designed to disarm protective fear-based reality programming in order to insert dangerous encrypted emotional directives disguised as electronically modified and degraded voicemails from ex-lovers. The audio file utilizes technology developed by the CIA's MKUltra programs and experiments. Tags: Electronic Harassment, Magnetoencephalography, Mind Control, Behavior Control, LSD, CIA,MK/Ultra, Physicochemical Investigations, Voicemail, Infrasound, Secure Room, Microwave Auditory Effect, Bobolocapnine, Atlanta Federal Penitentiary Prisoner Experiments, Richard Bandler Murder Trial, NLP, Neuro-linguistic Programming, Ex-Lovers, Energy Weapons, Sonic Weapons, Satan, Behavior Modification, The Manchurian Candidate, Brainwash, Backmasking, Giant MK Ultra Mind Control Rabbit This sculpture is designed to disarm protective fear-based reality program in order to insert dangerous encrypted information disguised as electronically modified and degraded voicemails from x-lovers. The sculpture utilizes technology developed by the CIA's MKUltra programs and experiments. Giant MK Ultra Mind Control Rabbit This sculpture is designed to disarm protective fear-based reality program in order to insert dangerous encrypted information disguised as electronically modified and degraded voicemails from x-lovers. The sculpture utilizes technology developed by the CIA's MKUltra programs and experiments. Giant MK Ultra Mind Control Rabbit This sculpture is designed to disarm protective fear-based reality program in order to insert dangerous encrypted information disguised as electronically modified and degraded voicemails from x-lovers. The sculpture utilizes technology developed by the CIA's MKUltra programs and experiments. Giant MK Ultra Mind Control Rabbit This sculpture is designed to disarm protective fear-based reality program in order to insert dangerous encrypted information disguised as electronically modified and degraded voicemails from x-lovers. The sculpture utilizes technology developed by the CIA's MKUltra programs and experiments.

Interviews & writing HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... INTERVIEWS LINDA MARY MONTANO INTERVIEW 2020 ACTIVATING PERCEPTION Midtown Arts District 2017 ARTiculACTion 2016 Aaron Pierce February 2017 A: I am a graduate from Utah Valley University and I am writing a dissertation for the university's biannual Art History Symposium. The topic of discussion this year is Maximalism. I am particularly focusing on performance art as the contemporary medium that is reinventing museum spaces and engaging audiences by stimulating the senses more through music, dance, film, and painting combined. That is where your exhibit Animal Maximalism came to my attention. I am completely intrigued and enthralled by your performance art pieces and projects you have created. For this paper, I would love to have your view on performance art and Maximalism. I am interested in hearing some of your methods about performance art and Maximalism. It is rare in art history to be able to have contact with the artist, hence my excitement. If you do not mind sharing your opinion, I would like to know how you feel performance art engages audiences and pushes them to connect on a higher level to art? Also, why are we seeing a shift towards more performance art pieces in museums and galleries? I feel that audiences want to have a full sensory experience. How does Maximalist performance art achieve this better than other medium of art? N: I practice a process of allowance where I let myself do what I want. This approach results in maximum data and action. By letting myself engage with an array of modalities I can generate multiple outcomes and possibilities. Because I'm not limited to any single mode of involvement, I'm free to use painting, performance, photography, or video or a mixture of modalities as I find necessary depending on my agenda and instinct. This suits my athletic, resourceful, and determined nature. I approach performance art in the same way I would approach any other art modality- by paying close attention to gut instincts and psychic impressions in a process designed to override cerebral programming. The aim is always to align action with intention, and make note of the findings and outcome along the way. Performance art is a good choice when the concept I'm grappling with calls for a human body, action, or a narrative to actuate the outcome, especially literal concepts like worshiping the golden calf or using blood to cleanse things. My body can become a tool, a stand-in, or effigy of or for the viewer, creating a point of commonality to facilitate access. Aligning action with intention is also a way to re-frame ritual and an attempt to validate the effectiveness of approaches historically relegated to realms of religious structures and beliefs. I was recently invited to teach an art theory class for kids at The Hudson Valley Sudbury School. Through our discussions it emerged that the students felt most drawn to art practices and outcomes that suited the nature, mentality, and necessity of the individual artist. For instance they could relate to how Chuck Close became successful at painting faces as a result of his lifelong struggle with a facial recognition disorder. In reflecting on my personal method it occurs to me that my mode of operation is dictated by my nature, I didn't choose to function within the Maximalism approach and philosophy, it's just that the philosophy happens to align with my nature. I'm a serial over-doer of all things who relishes the opportunity to push things too far. My work is reactionary because I'm a reactionary person. For instance the first time I encountered minimalism I was ready to explode in a thousand directions. And, as an art student I couldn't help but challenge typical art professor's slogans such as "You have to know when to stop." Of course I could recognized the academically dictated stopping point but I would never in a million years stop there. I've always felt that learning how to challenge, push, or destroy something is a valid study when handled respectfully and with intention. Performance art is an another mode of operating for artists to use in order to find or generate new information, to experiment with creating new experiences, or to try to express something they otherwise couldn't. It can engage the viewer in an intimate way offering the potential to build powerful experiences as it facilitates a space that can involve and include the viewer in a novel physical or psychic way. It's possible that since performance art inhabits walking space where gallery-goers would otherwise be moving about, a psychic connection is created by sharing the same space. As viewers, we know less about what it would be like to hang motionless on a wall. Performance art offers a platform for artists to practice aligning action with intention, a way to possibly re-frame ritual and to build experimental new models for of control or power to replace outmoded religious structures and beliefs. But also, It's possible the performance art trend might be a way for artists to backhandedly confront consumerism and elitism simultaneously, or at least to create the illusion of doing so. Commercial galleries and academic environments can be market driven or exclusive, but performance art has the ability to dissolve those traditional notions and to expand viewership by engaging broader mentalities in a way that would be difficult for strictly visual work focused on heady concepts or dollar amounts. And since we live in a culture of visual bombardment, where viewer's digitally conditioned eyes and minds are increasingly savvy, and in conjunction with consumer programming, we need something that can function both inside of and outside of commercial gallery and academic paradigms. There is a literal dissolution of boundaries. Since performance art is impervious to ownership and commodification, it pushes against market-driven capitalist structures and challenges a system where finances determine success. Issues of marketability, ownership, or commodity all come into play because its difficult to financially capitalize off of performance art. So, maybe it's like most trends- timely and culturally necessity. I developed the Animal Maximalism exhibition concept as a way to bombard the human sensory input manifold with the intention of revealing cloaked information. I use the word "Animal" as an homage to instinct. For me academia operated through reversal, fueling my defiance more than refining me the way school is supposed to, so part of my mission has always been to build legitimate framework for us animals, one that is less cage-like, and Maximalism is a good framework for that agenda. I try to work within and build upon systems that already exist that might reflect and support my authentic nature, and to allow my work to reflect and be a response to the full spectrum of my body's biologic manifestation of its own history within its cultural environment. Maximalism feels like science-fiction, in that it offers the potential for system building where the inward personal landscape can travel all the way outward through the giant jumbled experience of collective household, community, country, and planetary psychic connections. Maybe performance offers an easier access point to the viewer in that we can all relate to each other as humans who are human shaped and have human form. We all share common ways of moving our human forms through space. It's possible that performance could function to create a portal, like a way out or a way in. The Cult of Painting by Nina Isabelle 2014 Painting is a visual, psychological, or metaphysical study or exploration of an object or non-object, a place or non-place, an inner, outer, or simultaneous multiple psychic dimensions, something other, all, or none of the above. Various viscosities of liquid or paste suspending colored pigments in oil, wax, synthetic polymer, or other, are sometimes but not always laid down, poured, sprayed, or applied by the hand as an extension or non-extension of the wrist, elbow, arm, shoulder, hip, body, outer-body, aura, transcended-self, future-self, or by proxy with either a brush, tool, or other, onto a solid or canvas surface in either multiple or single opaque or transparent layers or strokes resulting in a tangible visual object manifest in the physical dimension as having weight, height, depth, mass, and occupying an amount or volume of time and likewise resulting in an equal to, greater than, or less than physical, psychological, or spiritual impact of understood or non-understood ethereal consequences within an inverse unquantifiable psychic dimension. The conception, execution, and result will or won't be quantifiable by subsets of verbal language, written or spoken, which may or may not contain specialized terminology.

MOTHERING looks at a child's nonverbal perception of the unspoken or hidden in relation to the improbability of a hierarchal god or mother. Multilayered family HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... MOTHERING NINA A. ISABELLE, EVER Z. PEACOCK, & SYLVIA ROSEKILL PERFORMANCE ART FARM ROSENDALE, NY JUNE 3, 2017 MOTHERING looks at a child's nonverbal perception of the unspoken or hidden in relation to the improbability of a hierarchal god or mother. Multilayered family video and sound are projected onto a quasi-defunct Airstream trailer behind the south barn at Rosekill Performance Art Farm while Mother and Son perform with gestural sound-loops and shrouded interpretive movement.

oUT iN tHe zONE -MAY 12, 2017 PHOTOS BY WALTER WLODARCZYK HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... oUT iN tHE zONE NYC ANARCHIST PERFORMANCE ART EXHIBITION #11 JUDSON MEMORIAL CHURCH, NYC MAY 12, 2017 PHOTOS BY WALTER WLODARCZYK walter-wlodarczyk-2017-05-13-_87A3101 Nina A. Isabelle - Anarchist Performance Art #11 at Judson Memorial Church, NYC 2017 (photo: Walter Wlodarczyk) walter-wlodarczyk-2017-05-13-_87A3103 Nina A. Isabelle - Anarchist Performance Art #11 at Judson Memorial Church, NYC 2017 (photo: Walter Wlodarczyk) walter-wlodarczyk-2017-05-13-_87A3085 Nina A. Isabelle - Anarchist Performance Art #11 at Judson Memorial Church, NYC 2017 (photo: Walter Wlodarczyk) walter-wlodarczyk-2017-05-13-_87A3092 Nina A. Isabelle - Anarchist Performance Art #11 at Judson Memorial Church, NYC 2017 (photo: Walter Wlodarczyk) walter-wlodarczyk-2017-05-13-_87A3095 Nina A. Isabelle - Anarchist Performance Art #11 at Judson Memorial Church, NYC 2017 (photo: Walter Wlodarczyk) 18319281_318426008575701_4965584380399255762_o

Nina A. Isabelle is a process-based multidisciplinary artist working with abstract painting, performance art, video, photography, sound, and sculpture. HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... THE BEDROOM 4th Iteration THE HOLLAND TUNNEL GALLERY Brooklyn, NY October 20 - November 12 The Bedroom is an international monochromatic flux installation by The Women Artist Team. The 3rd Iteration was exhibited at NA Gallery in Chungcheongnam-do, South Korea.

Nina A. Isabelle is a multidisciplinary artist working with abstract painting, performance art, video, photography, sound, and sculpture. HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... Q:ENTITY Performed at Panoply Performance Lab on April 23, 2016 by Nina Isabelle and Clara Diamond Photos by Geraldo Mercado & Brian McCorkle Q:Informaticus at PPL Q: Informaticus Panoply Performance Laboratory APRIL 23, 2016 Nina Isabelle & Clara Diamond Photo: Brian McCorkle Q:Informaticus at PPL Q: Informaticus Panoply Performance Laboratory April 23, 2016 Nina Isabelle & Clara Diamond Photo: Brian McCorkle S1950155 Q: Informaticus Panoply Performance Laboratory April 23, 2016 Nina Isabelle & Clara Diamond Photo: Brian McCorkle Q:Informaticus at PPL Q: Informaticus Panoply Performance Laboratory April 23, 2016 Nina Isabelle & Clara Diamond Photo: Brian McCorkle Q:Informaticus at PPL Q: Informaticus Panoply Performance Laboratory April 23, 2016 Nina Isabelle & Clara Diamond Photo: Brian McCorkle Q:Informaticus at PPL Q: Informaticus Panoply Performance Laboratory April 23, 2016 Nina Isabelle & Clara Diamond Photo: Brian McCorkle Q:Informaticus at PPL Q: Informaticus Panoply Performance Laboratory April 23, 2016 Nina Isabelle & Clara Diamond Photo: Brian McCorkle Q:Informaticus at PPL Q: Informaticus Panoply Performance Laboratory April 23, 2016 Nina Isabelle & Clara Diamond Photo: Brian McCorkle Q:Informaticus at PPL Q: Informaticus Panoply Performance Laboratory April 23, 2016 Nina Isabelle & Clara Diamond Photo: Brian McCorkle S1950125 Q: Informaticus Panoply Performance Laboratory April 23, 2016 Nina Isabelle & Clara Diamond Photo: Brian McCorkle Q:Informaticus at PPL Q: Informaticus Panoply Performance Laboratory April 23, 2016 Nina Isabelle & Clara Diamond Photo: Brian McCorkle Q:Informaticus at PPL Q: Informaticus Panoply Performance Laboratory April 23, 2016 Nina Isabelle & Clara Diamond Photo: Brian McCorkle S1950173 Q: Informaticus Panoply Performance Laboratory April 23, 2016 Nina Isabelle & Clara Diamond Photo: Brian McCorkle S1950169 Q: Informaticus Panoply Performance Laboratory April 23, 2016 Nina Isabelle & Clara Diamond Photo: Brian McCorkle S1950132 Q: Informaticus Panoply Performance Laboratory April 23, 2016 Nina Isabelle & Clara Diamond Photo: Brian McCorkle Q:Informaticus at PPL Q: Informaticus Panoply Performance Laboratory April 23, 2016 Nina Isabelle & Clara Diamond Photo: Brian McCorkle Q:Informaticus at PPL Q: Informaticus Panoply Performance Laboratory April 23, 2016 Nina Isabelle & Clara Diamond Photo: Brian McCorkle Q:Informaticus at PPL Q: Informaticus Panoply Performance Laboratory April 23, 2016 Nina Isabelle & Clara Diamond Photo: Geraldo Mercado 1/2 This project aimed to locate new information and vantages through allowing a process that seeks and acknowledges the emergence of scientifically unverifiable perceptive experiences that result in useful information. Through building awareness of alternative forms of perception and by implementing unusual sensory input modalities, such as ritual, breath, Hz, cryptography, pseudo-algebra, dowsing, the concept of The Q: Entity emerged and “Q” became understood as a unit of measurement expressing a quantifiable amount of information that might result in an equation intended to facilitate a circular energy exchange between The Q: Entity and its constituents. A Silent Mass Generator Workshop was held on November 7, 2015 and the public interacted with the physical mass inside of a fabricated soundscape designed by the artists, in collaboration with experimental musician Christina Diamond, to loop through electronic frequencies correlating to the physical body chakra system as an electronic gong wash activating the complete chakra system fourty-six times. By the hands-on manipulation of the donated material for a span of five hours and fourty-four minutes, the ephemeral energies of participants were interwoven into The Q: Entity. A performance on Saturday November 21, 2015 aimed to build connections with constituents by transmitting unsubstantiated and unrecognizable forms of energetic information. THE Q:ENTITY THE LINDA MARY MONTANO ART/LIFE INSTITUTE KINGSTON NOVEMBER 21, 2015 Q:Informaticus, a division of The Q:Entity Corporation, is designed to generate constituents as information receptacles programmed to solve unreal and/or otherworldly problems. Q:Informaticus directs functional information along proper dispersal channels activating the psychic conduits of multiple physical bodies. Activation originates at the coccyx and rises through the spine while keeping operational residence within the instinctive functioning portions of the guts, heart, and brain meat, matter, fluid, and circuitry using complex interlaced bacteria and neuroelectric pathways programmed to transmit and receive local and non-local information. The sensory input perception manifolds within all programmed constituents will evolve and transform comfortably to reduce validation of information received through the physical portals known as eyeballs, tongue, ears, and skin. Alternative modalities of perception will be established and activated. Q:Informaticus: for people who want to solve unreal and / or otherworldly problems. There are few career paths, be it scientific research, business, design, medicine, the fine arts, or telecommunications, in which Q won't play an important part of your work. Healthcare specialists use Q records to help diagnose disease and discover new ways of treating patients. Advertising firms use Q data to create visualizations of customer behavior. Environmental scientists compile big Q data to track the impact of climate change. Smartphones are awash with Q apps that can do everything from pay your bills to find the next band you might like. All of those applications and much more are Q: informaticus in action putting Q to work to solve complex problems. Utilizing Q: informaticus to study Q technology impacts academic disciplines in the science, arts, medicine, business, and telecommunications fields. Q is also one of the fastest growing fields in technology, and the demand is high. Last year alone, 88 percent of Q: informaticus constituents secured full-time employment within six months. Among students holding Master's degrees or a Ph.D., 98 percent accepted employment within six months of graduation. In a world of stagnating salaries, Q: informaticus constituents also enjoy an average salary. Q:Informaticus lays out a bright, flexible, structural path to a future and imparts valuable real-world experience and works side-by-side with some of the most innovative thinkers in the field. Q: informaticus prepares, excites, severs programming, technologizes, and generates futures. THE SILENT MASS GENERATOR WORKSHOP GES #411 ARCHIVE SPACE NOVEMBER 6, 2015 The Silent Mass Generator Workshop incorporated the public to assemble, build and incorporate physical mass within an experimental simulated mindfulness environment. The duration of the workshop spanned 5 hours and 44 minutes inside of The Grace Exhibition Space Shirt Factory Studio #411. There was no speaking, eating, or drinking. Participation was not required, participants were free to come and go, or stay for a portion of the workshop. The workshop was designed to distract the subconscious mind by the tedium of cutting, ripping, and tying material to form long strands in order to facilitate the entry into a mindful, meditative, psychic space. The project explored the development and agenda of interwoven notions of communal beliefs, material dynamics, possibilities of non-linear physical travel implied through numbers expressing location using longitude and latitude, the metaphor of breath in relation to inspiration and language styles expressing give-and-take or push/pull communication patterns, the articulation of verbal concepts in relation to the movement between ball-and-socket joints such as the hips and shoulders during the birthing-process, as well as the documentation of scientifically unsubstantiated effects of focused intention and ritual action in non-physical reality such as memory, deja-vu, and other phenomena of psychic imprint. An experimental soundscape designed with Christina Amelia Diamond acted as an electronic gong wash intended to initiate 23 cycles of ordered energetic body activation using specific Hz. Other auditory Information within the noise composition was generated by The Entity. Speaking was disallowed at The Silent Mass Generator Workshop. The Entity thanks Jeanie Antonelle, Undine Brod, Leonard Fujiyama, Hillary Harvey, Mor Pipman, and Christina Varga for their contribution of materials. more info. CALL FOR MATERIAL DONATIONS SEPTEMBER 25, 2015 The Entity seeks donations of scrap, waste, or unsellable materials such as fabric cut-offs, twine, rolled or spooled material, rope, ribbon, thread, or anything that is in long strands or could be cut and tied to form long strands. The nature of the project has lead to the present development of an official CALL FOR DONATED MATERIALS. The Entity also seeks donations of traditional artist’s materials as well as non-toxic industrial materials which might be repurposed. The upcoming phase of the project includes an opportunity for community participation with an interactive component in the form of a silent workshop intended to build physical mass through the hands-on manipulation of donated material. The workshop will be free and open to the public. FEEDING THE ENTITY MARCH 2015 Feeding The Entity explores the development and agenda of interwoven notions of communal beliefs, material dynamics, possibilities of non-linear physical travel implied through numbers expressing location using longitude and latitude, the metaphor of breath in relation to inspiration and language styles expressing give-and-take or push/pull communication patterns, the articulation of verbal concepts in relation to the movement between ball-and-socket joints such as the hips and shoulders during the birthing-process, as well as the documentation of scientifically unsubstantiated effects of focused intention and ritual action in non-physical reality such as memory, deja-vu, and other phenomena of psychic imprint.

Silver gelatin prints & hand made photograms by Nina Isabelle (1989-1999) HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... SILVER GELATIN PRINTS 1989-1999 A Collection of gelatin silver prints made from photograms, handmade negatives, and experimental darkroom photographic processes. Mother Selenium toned silver gelatin print toned silver gelatin print toned silver gelatin print Selenium toned silver gelatin print 7x9 toned silver gelatin print toned silver gelatin print Selenium toned silver gelatin print 7x9 toned silver gelatin print prismacolor on toned silver gelatin print toned silver gelatin print sepia toned silver gelatin print toned silver gelatin print toned silver gelatin print toned silver gelatin print Selenium toned silver gelatin print 7x9 1/1

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HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... THE SHIRT FACTORY CENTENNIAL KINGSTON, NY September 16, 2017, 2018 For The Shirt Factory Centennial Celebration I tied 100 flags together and looped them through the building.

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HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... THE SILENT MASS GENERATOR WORKSHOP GES #411 ARCHIVE SPACE NOVEMBER 6, 2015 The Silent Mass Generator Workshop incorporated the public to assemble, build and incorporate physical mass within an experimental simulated mindfulness environment. The duration of the workshop spanned 5 hours and 44 minutes inside of The Grace Exhibition Space Shirt Factory Studio #411. There was no speaking, eating, or drinking. Participation was not required, participants were free to come and go, or stay for a portion of the workshop. The workshop was designed to distract the subconscious mind by the tedium of cutting, ripping, and tying material to form long strands in order to facilitate the entry into a mindful, meditative, psychic space. The project explored the development and agenda of interwoven notions of communal beliefs, material dynamics, possibilities of non-linear physical travel implied through numbers expressing location using longitude and latitude, the metaphor of breath in relation to inspiration and language styles expressing give-and-take or push/pull communication patterns, the articulation of verbal concepts in relation to the movement between ball-and-socket joints such as the hips and shoulders during the birthing-process, as well as the documentation of scientifically unsubstantiated effects of focused intention and ritual action in non-physical reality such as memory, deja-vu, and other phenomena of psychic imprint. An experimental soundscape designed with Christina Amelia Diamond acted as an electronic gong wash intended to initiate 23 cycles of ordered energetic body activation using specific Hz. Other auditory Information within the noise composition was generated by The Entity. Speaking was disallowed at The Silent Mass Generator Workshop. The Entity thanks Jeanie Antonelle, Undine Brod, Leonard Fujiyama, Hillary Harvey, Mor Pipman, and Christina Varga for their contribution of materials. CALL FOR MATERIAL DONATIONS SEPTEMBER 25, 2015 The Entity seeks donations of scrap, waste, or unsellable materials such as fabric cut-offs, twine, rolled or spooled material, rope, ribbon, thread, or anything that is in long strands or could be cut and tied to form long strands. The nature of the project has lead to the present development of an official CALL FOR DONATED MATERIALS. The Entity also seeks donations of traditional artist’s materials as well as non-toxic industrial materials which might be repurposed. The upcoming phase of the project includes an opportunity for community participation with an interactive component in the form of a silent workshop intended to build physical mass through the hands-on manipulation of donated material. The workshop will be free and open to the public. FEEDING THE ENTITY MARCH 2015 Feeding The Entity explores the development and agenda of interwoven notions of communal beliefs, material dynamics, possibilities of non-linear physical travel implied through numbers expressing location using longitude and latitude, the metaphor of breath in relation to inspiration and language styles expressing give-and-take or push/pull communication patterns, the articulation of verbal concepts in relation to the movement between ball-and-socket joints such as the hips and shoulders during the birthing-process, as well as the documentation of scientifically unsubstantiated effects of focused intention and ritual action in non-physical reality such as memory, deja-vu, and other phenomena of psychic imprint.

Nina A. Isabelle is a multidisciplinary artist working with abstract painting, performance art, video, photography, sound, and sculpture. HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... SOLVERMATH PHASE ONE - FEBRUARY 24, 2023 TWO THINGS CRACK IN HALF FEBRUARY 20, 2023 RPI OPEN STUDIO DECEMBER 2022 LISTENING MEDIUMS OCTOBER 2022 RINGING IN EARS OCTOBER 2022 LIVESTREAM JULY 2022 PSYCHIC SELF DEFENSE DECEMBER 2020 - GIANT WOODEN STAKE FOR KILLING ENERGETIC VAMPIRES IMAGINED PERFORMANCE STORYTIME WITH IV CASTELLANOS PARA\\EL PERFORMANCE SPACE FEBRUARY 2021 WHAT THE BODY KNOWS AUGUST 2020 MOSS ROCK CAGE APRIL 2020 TEN THOUSAND OBJECTIVES MARCH 2020 INTERVIEW BY LINDA MARY MONTANO FEBRUARY 2020 VOICES & CHOICES - THE EAR - BROOKLYN, NY AUGUST 2019 REMARKABLE NEW LOCATIONS - CX SILVER GALLERY - BRATTLEBORO, VT JUNE 2019 ILLUMINATING INTANGIBLES - PARA\\EL PERFORMANCE SPACE - BROOKLYN MARCH 2019 SHAPE OF A FEELING 2018-PRESENT SEEMRIPPER - ELIZABETH FOUNDATION - NYC OCTOBER 2018 LANDLINES - CX SILVER GALLERY - BRATTLEBORO, VT AUGUST 2018 WE CAN'T TELL WHAT WE'RE DOING - HiLO GALLERY - CATSKILL, NY AUGUST 2018 NEW SITUATIONS - THREE PHASE CENTER - STONE RIDGE, NY JUNE 2018 WHISTLE PORTRAITS - HiLO GALLERY - CATSKILL, NY JUNE 2018 FORCE YOURSELF TO BE GOOD - PANOPLY PERFORMANCE LAB - BROOKLYN, NY MAY 2018 CITIZEN PARTICIPATION WITH FEMINIST ART GROUP AT ABC NO RIO / BULLET SPACE IN NYC MAY 2018 HYMN WARP TRANSDUCER AT BEDSTOCK - NINE HERKIMER IN BROOKLYN APRIL 2018 PIANO PORTRAITS - HiLO GALLERY - CATSKILL, NY FEBRUARY 2018

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... ART/LIFE KINGSTON CLARA DIAMOND & NINA ISABELLE 2016

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... STAGES CLARA DIAMOND, NINA A. ISABELLE, & VALERIE SHARP GREEN KILL, KINGSTON, NY APRIL 15, 2017

Nina A. Isabelle is a process based multidisciplinary artist working with abstract painting, performance art, video, photography, sound, and sculpture. HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... NINA A. ISABELLE Kingston, NY isaben@rpi.edu Nina Isabelle is a process based artist working with perception, action, language, and phenomena. Her practice is a method to sort and solve the inconsistencies of language, memory, and form. She makes paintings, drawings, photographs, video, sculpture, sound, performance and writing as inquiry into how sensory perception functions as the impetus for action, reaction, response, and choice making in art and life. Her work often merges disciplines as she explores how sense data compels actions, informs concepts, and the unconscious and conscious impact these variables have on decision making processes used to construct meaning and worlds. Motivated by the failure of dialogue, the dissonance between form and content, the imposition of objects in space, as well as the deficiencies of literal language, her projects highlight how modes of psychic imprinting and cerebral interpretations come together to organize perception in ways that can inform and solidify new possibilities and transformations. She often arranges structures for action, gesture, and performance as a way to reveal surprises or new information. She might act out directives such as repetitive gestures and/or categorical movements inspired by mathematical number sequences, geometric or asymmetrical patterns, GPS location, or directions within open time segments to find ways that improvised movements, reactions, and responses can be examined, quantified, relearned, or transformed. Her projects often compel her to construct life size human forms, sew garments or other wearable objects, wrap and/or suspend arrangements, weld steel structures that might become a wearable, percussion instrument, a kinetic sculpture, or all three. The sculptural objects that result from her process are project-specific and function as concept-artifacts, or evidence of a process of engaging with physical material. Along the way and afterward, she scrutinizes everything including conception, design, creation, physical actions & interactions, and destructive elements as a way to notice inconsistencies or transformations that demonstrate how manipulating physical material might reveal information about ways of manipulating non physical dimensions including concepts. Isabelle use photography and video documentation as instruments to highlight and inspect sensory inconsistencies and memory schisms that occur throughout expanded timelines. By simultaneously displacing perception into three different vantages (the observer, the observed, and the observer of the observed,) she is able to engage with documentation as a tool to untangle problems related to sequence and simultaneity, physical location and material, the affability of memory, the complexities of self and other, and the inconsistencies experienced by the observer and experiencer over time. Her projects often include soundscapes made using her personal collection of audio samples including inaudible language or partially told stories, text-to-speech robots, discordant and degraded audio bombardments, multilayered barrages of noises sampled from her life such as gun shots, clicking bicycle sprockets, wind hitting a microphone, my kids, and my own improvised interactions with musical instruments. As part of her process, Isabelle will stretch, layer, reverse, overlap, or modify her soundscapes creating a cacophonic experience that might engage and scramble or distract and divert a portion of perception with the goal of freeing up other awareness functions. Isabelle's work has been presented at The Elizabeth Foundation for the Arts in New York City, The Queens Museum as part of Emergency Index Documentation Discussion, Judson Memorial Church, Grace Exhibition Space, and ABC No Rio in Exile at Bullet Space in NYC with Feminist Art Group, as well as at Para//el Performance Space and The Ear in Brooklyn, NY. Internationally her projects have been presented at Czong Institute for Contemporary Art in Gimpo, South Korea, The Unstitute in Catalunya, Spain, Bangkok Underground Film Festival in Thailand, and NA Gallery in South Korea. Nationally her work has been shown at The San Diego Art Institute, The New School's exhibition at The Bushwick Collective, Roman Susan in Chicago, IL, and CX Silver Gallery in Brattleboro VT, among others. In 2018 Isabelle founded Three Phase Center for Collaborative Art Research & Building in Stone Ridge, NY where she facilitates, collaborate with, and document the work of process based conceptual and performance artists. Three Phase Center also produces a video documentary series titled Documenting Process that aims to substantiate the utility of art processes that challenge the measures of value established by institutions and markets by highlighting the lateral values of the processes and practices artists engage with that benefit their social spheres, themselves, or larger communities in less quantifiable ways. The series features artists talking about their practices, process, influences, motivations, and future plans in relatable and accessible terms. Isabelle is continually motivated to work, present projects, facilitate, and collaborate with artists and idea people of any sort. Please feel free to contact her to schedule a studio visit. She also have many pieces of artwork for sale and is happy to discuss commissioned works including painting, drawing, photography, video, and sculpture. Educational Statement I first studied art at Pennsylvania School of Art and Design in 1991, and then at The University of Utah. I received my Bachelor's in Art from Westminster College and graduated with honors in 1999. In 2022 I received a Rensselaer Graduate Fellowship award to pursue study in the doctoral program in Electronic Arts at Rensselaer Polytechnic Institute. Exhibitions, Collaborations, Participations & Projects 2023 5 Objects, Percussion & Piano for Lisa Schonberg's Old Growth Playback, The Sanctuary for Independent Media, Troy, NY 2023 Electronic Arts PhD Open Studios, Rensselaer Polytechnic Institute, Troy, NY 2023 Chicken Performance with Linda Montano, Paul McMahon & Brian McCorkle, Lamb Center, Saugerties, NY 2023 Art = Healing, a group exhibit by Linda Montano at Emerge Gallery, Saugerties, NY 2023 b priori, Rensselaer Polytechnic Institute EArts PhD Graduate Exhibit at Collarworks, Troy, NY 2022 West Hall Open Studios, Rensselaer Polytechnic Institute, Troy, NY 2022 Livestream - Nina Isabelle & Adriana Magaña at Jennifer Zackin's Upstate Art Open Studio, July 2022 2021 Building as Being / Construction as Performance - IV Castellanos & Nina Isabelle at Rosekill Performance Art Farm, June 2021 2021 Nina Isabelle - Artist, Thinker, Observer , Theresa Widman's Podcast #183 2021 The Black Meta Interviews Nina Isabelle for Radio Kingston, by Beetle & Freedom Walker, May 2021 2021 Psychic Self Defense, Artlife Institute, Kingston, NY 2021 Imagined Performance written by Nina Isabelle presented by IV Castellanos, Para\\el Performance Space, Brooklyn, NY 2020 Meet The Makers, Children's Museum of Art in NYC interviews Nina Isabelle, October 21, 2020 2020 Spheres of Performance, Perception, and Value, virtual presentation for The Hynes Institute of Entrepreneurship & Innovation at Iona College, September 2020 2020 Video Manifestation System User Interface Lecture and Presentation, Grace Exhibition Space, NYC , May 1, 2020 2020 Superfund Revisioning Project Lecture, Grace Exhibition Space, NYC . May 15, 2020 2020 EQUINOX, An Emergency of Joy, March 19, 2020 2019 The Shape of a Feeling & the Languages of Organizational Structures, The Esthetic Apostle, October 2019. Web. 2019 Choices & Voices, The Ear, Brooklyn, NY 2019 Remarkable New Locations, CX Silver Gallery, Brattleboro, VT 2019 April 5th Video for Daily Trumpet by Jonathan Horowitz. Web. 2019 Illuminating Intangibles with Amelia Iaia at Para\\el Performance Space, Brooklyn, NY 2019 Documentation Discussion with LiVEART.US & Emergency INDEX at Queens Museum 2018 Empathy Blinders by David Ian Bellows/Griess with Nina Isabelle & Elizabeth Lamb, Brooklyn Arts Media , December 4-18, 2018 2018 LaTable Ronde / Critical Practices Round Table #7.1 on Careerism, NYC 2018 In Honor Of, The Elizabeth Foundation for the Arts, NYC 2018 actLife , Linda Montano, Nye Ffarrabas (Bici Forbes,) Cai Xi, Lee Xi, Nina Isabelle, Jennifer Zackin, Sharon Myers, C.X. Silver Gallery, Brattleboro, VT 2018 Healing + Arts / Radical Domesticity , Movement Metaphors Time Travel Workshop, Kingston, NY 2018 No Nudes / No Sunsets , Greene County Council on the Arts, Catskill, NY 2018 Whistle Portraits with Linda Mary Montano & Jennifer Zackin, Secret City Art Revival, Woodstock, NY 2018 Whistle Portraits with Linda Mary Montano & Jennifer Zackin, HiLo, Catskill, NY 2018 Animalia , 2018 Anarchist Art Fair at Judson Memorial Church, NYC 2018 Performancy Forum, ForceYourself to be Good , Panoply Performance Laboratory, Brooklyn, NY 2018 Citizen Participation: Diagrams & Directives , Feminist Art Group, ABC No Rio in Exile at Bullet Space, NYC 2018 The Hymn Warp Transducer, Paul McMahon's Bedstock, 9 Herkimer Place, Brooklyn, NY 2018 Muscular Bonding, New Genres Arts Festival, Living Arts, with Esther Neff, Beth Neff, Kaia Giljia, 3dward Sharp, and Adriana Disman, Tulsa, OK 2018 M.A.R.S.H (Materializing & Activating Radical Social Habitus,) with Esther Neff, Beth Neff, Kaia Giljia, 3dward Sharp, and Adriana Disman, in St. Louis, MO 2018 Video Manifestation System by Nina A. Isabelle, Human Trash Dump, www.archive.org , 2018 Piano Portraits with Linda Mary Montano, Nina Isabelle, & Jennifer Zackin at HiLo in Catskill, NY 2018 Beast Conjuring , The Mothership, Woodstock, NY 2017 MKUVM , Human Trash Dump, Nov. 27, 2017, www.archive.org 2017 Vidiot , The Unstitute, Catalonia, Spain & Virtual 2017 4th Iteration of The Bedroom by T.W.A.T. (The Women Art Team), Holland Tunnel Gallery, Brooklyn, NY 2017 CENTENNIAL:SHE , Greene County Council on the Arts, Catskill, NY 2017 Patricia Field's Art/Fashion Show, Joe's Garage, Catskill, NY 2017 Feminist Art Group Performance, Old Glenford Church Studio, Glenford, NY 2017 Midtown Arts District Art Walk, Kingston, NY 2017 The Shirt Factory Centennial, Kingston, NY 2017 The Unstitute's Projection Room, Integrative Ontological Practices by Selden Paterson & The Eucharist Machine by Nina Isabelle, Catalonia, Spain & Virtual 2017 We Are The Secret Garden , The Stable Yard at Ernest, Anna, & Ming's in Kingston, NY 2017 The Bedroom , The Women Artist Team at NA Gallery, Chungcheongnam-do, South Korea 2017 Just Situations with FAG, Grace Exhibition Space, Brooklyn, NY 2017 Ungovernable Zone by Anarko Art Lab at Secret Garden Art Festival at Ft. Tilden, NYC 2017 Beautiful Symphony: Women Creating Chaos with F.A.G at Rosekill, Rosendale, NY 2017 Experimental Archery & Mark Making, Rosekill, Rosendale, NY 2017 MOTHERING , Rosekill Performance Art Farm, Rosendale, NY 2017 If You Don't Go Out In The Woods , Legacy Fatale, Rosekill Performance Art Farm, Rosendale, NY 2017 oUT iN tHE zONE, Anarchist Art Festival #11, Judson Memorial Church, NYC 2017 UNITY, The Lace Mill Gallery, Kingston, NY 2017 Wish You Were Here II, The Old Glenford Church Studio, Glenford, NY 2017 Feminist Art Group (F.A.G.) Knights of The Round Table , Grace Exhibition Space, Brooklyn, NY 2017 Stages, Green Kill Gallery, Kingston, NY 2017 Property, Roman Susan & Rogers Park / West Ridge Historical, Chicago, IL 2017 Bangkok Underground Film Festival, Bridge Art Space, Bangkok, Thailand 2017 Embarrassed of the Whole, Time Travel Research, Panoply Performance Laboratory, Brooklyn, NY 2017 SHORTCUT TO HELL, Otion Front Studio, Brooklyn, NY 2016 Laundry Loops with JOB // IV Soldier's F.A.G. (Feminist Art Group, ) Panoply Performance Laboratory, Brooklyn, NY 2016 The Dead Are Not Quiet, San Diego Art Institute, San Diego, CA 2016 Artist and Location , Czong Institute For Contemporary Art (CICA) Museum, Gimpo, Korea 2016 The Jernquist Coloring Book Show, Studio Fidlär, Alexanderplatz, Berlin 2016 PoliTRICKS , Art Ellipsis, Philladephia, PA 2016 Feminist Art Group in IV Soldiers Gallery at Rosekill Performance Farm, Rosendale, NY 2016 85th Annual Woodstock Library Fair, Woodstock, NY 2016 The Shirt Factory Open Studios, Kingston, NY 2016 The New School / Bushwick Collective, Brooklyn, NY 2016 The Shirt Factory Artists , Wired Gallery, High Falls, NY 2016 Wish You Were Here , The Old Glenford Church Studio, Glenford, NY 2016 Installation and Performance at The Art Life Institute with Clara Diamond, Kingston, NY 2016 The Pain Project / Alice Teeple-Now Is Real , Star House Gallery, Kingston, NY 2015 Silent Mass Generator Workshop , Grace Exhibition Space Archive, Kingston, NY 2015 Instinct , The Parliament, York, PA 2015 Posthumous Collaborations , Star House Gallery, Kingston, NY 2015 Abstract Mediums , Star House Gallery, Kingston, NY 2014 Witness: The Cedar Tavern Phone Booth Show , Star House Gallery, Kingston, NY 2014 Old Pro , Punk Rock Fish Studio, Berlin, MD 2014 Art Along The Hudson at S.P.A.F, Saugerties, NY 2014 Star House Gallery, Studio Sale, Kingston, NY 2014 Varga Gallery Memorial Day Group Show, Woodstock, NY 2014 Bold And Bright curated by David Barr, Artspace,Falls Church, VA 2013 Ethos of Abstraction -Nina Isabelle/Lucienne Weinberger, Stray Cat Gallery, Bethel, NY 2013 The Garden Cafe, Woodstock, NY 2013 Diagnosis Artist , Star House Gallery, Kingston, NY 2013 Half Your Age , Barrett Art Center, Poughkeepsie, NY 2013 Barrett Art Center, Kinetic , Poughkeepsie, NY 2013 Art Foray, Wired Gallery, High Falls, NY 2013 Home Grown , Hole In The Wall Gallery, Mechanicsburg, PA 2013 Outer Expressions of Inner Mayhem , solo show, Metropolis Collective, Mechanicsburg, PA 2012 Bits & Pieces , The Metropolis Collective, Mechanicsburg, PA 2012 Cool Cats , Hole in The Wall Gallery, Mechanicsburg, PA 2012 Fall Season Show, Greenpoint Gallery,Brooklyn, NY 2012 IDIOM , Unison at Water Street Market Gallery, New Paltz, NY 2012 The Maltese Falcon, Barrett Art Center, Poughkeepsie, NY 2012 Trash Art Gallery at The Metropolis Collective, Mechanicsburg, PA 2012 The Handmade Photograph , Mills Pond House Gallery, Smithtown, Long Island, NY 2012 Sex 7 , Projekt 30, NYC 2012 Cornell St. Studio, Kingston, NY 2012 Varga Gallery, Goddess Show, Woodstock, NY 2012 Erotica , Tivoli Artists co-op, Tivoli, NY 2012 Birds of a Feather , Varga Gallery. Woodstock, NY 2011 Paintings / Drawings, Lovebird Studios, Rosendale, NY 2011 Season Show, Art @ Home, Kingston, NY 2010 Wings Gallery, Rosendale, NY 2007 South Main Studios, Gunnison, CO 2007 Paragon Gallery, Crested Butte, CO 2005 The Gunnison Arts Center, Gunnison, CO 2004 The Gunnison Arts Center, Gunnison, CO 2003 The Gunnison Arts Center, Gunnison, CO 2002 The Gunnison Arts Center, Gunnison, CO 1999 Jewett Center, Westminster College, Salt Lake City, UT 1998 Sundance Gallery, Sundance, UT 1998 Weber State College, Weber, UT 1992 P.S.A.D Student Gallery, Lancaster, PA 1991 P.S.A.D. Student Gallery, Lancaster, PA 1990 Centre Film Lab, State College, PA 1989 Art Alliance of Central Pennsylvania, State College, PA 1988 Pennsylvania State Capital Building, Harrisburg, PA Solo Exhibitions 2021 Psychic Self-Defense, Artlife Institute Kingston, Kingston, NY 2019 Remarkable New Locations, CX Silver Gallery, Brattleboro, VT 2018 We Can't Tell What We're Doing, HiLo, Catskill, NY 2018 The Beast, The Mothership, Woodstock, NY 2017 Nina A. Isabelle at HiLo Art, Catskill, NY 2016 Animal Maximalism , Green Kill, Kingston, NY 2016 Hyperactive Installation at The Shirt Factory, Kingston, NY 2016 The Pain Project , Art/Life Institute, Kingston, NY 2014 The Random Community Generator , Star House Gallery, Kingston, NY 2013 Inner Mayhem , Metropolis Collective, Harrisburg, PA 2002 Nina Isabelle, Gunnison Art Center, Gunnison, CO 1999 Handmade Photographs , Bibliotheque, Salt Lake City, UT Performance 2022 Livestream - Nina Isabelle & Adriana Magaña at Jennifer Zackin's Upstate Art Open Studio, July 2022 2021 Building as Being / Construction as Performance - IV Castellanos & Nina Isabelle at Rosekill Performance Art Farm, June 2021 2020 EQUINOX, An Emergency of Joy, Three Phase Center, Stone Ridge, NY 2019 Illuminating Intangibles, Para\\el Performance Space, Brooklyn, NY 2018 Land Lines with Jennifer Zackin, C.X. Silver Gallery, Brattleboro, VT 2018 Whistle Portraits with Linda Mary Montano & Jennifer Zackin, Secret City, Woodstock, NY 2018 Whistle Portraits with Linda Mary Montano & Jennifer Zackin, HiLo, Catskill, NY 2018 Embodying The Outer Bodies / Force Yourself To Be Good Panoply Performance Laboratory, Brooklyn, NY 2018 Citizen Participation: Diagrams & Directives, Feminist Art Group, www.bulletspace.org , NYC 2018 The Hymn Warp Transducer, Paul McMahon's Bedstock, 9 Herkimer Place, Brooklyn, NY 2018 Muscular Bonding, New Genres Arts Festival, Living Arts, with Esther Neff, Beth Neff, Kaia Giljia, 3dward Sharp, and Adriana Disman, Tulsa, OK 2018 M.A.R.S.H (Materializing & Activating Radical Social Habitus,) with Esther Neff, Beth Neff, Kaia Giljia, 3dward Sharp, and Adriana Disman, in St. Louis, MO 2018 Piano Portraits with Linda Mary Montano, Nina Isabelle, & Jennifer Zackin at HiLo in Catskill, NY 2018 Beast Conjuring, The Mothership, Woodstock, NY 2017 We Are The Secret Garden , The Stable Yard at Ernest, Anna, & Ming's in Kingston, NY 2017 Just Situations with FAG, Grace Exhibition Space, Brooklyn, NY 2017 Ungovernable Zone by Anarko Art Lab at Secret Garden Art Festival at Ft. Tilden, NYC 2017 MOTHERING , Rosekill Performance Art Farm, Rosendale, NY 2017 If You Don't Go Out In The Woods , Legacy Fatale, Rosekill Performance Art Farm, Rosendale, NY 2017 oUT iN tHE zONE, Anarchist Art Festival #11, Judson Memorial Church, NYC 2017 The Fabric of Women's Space-Time, The Lace Mill Gallery, Kingston, NY 2017 Stages , Green Kill Gallery, Kingston, NY 2017 Embarrassed of the Whole, Time Travel Research, Panoply Performance Laboratory, Brooklyn, NY 2016 Mock The Chasm , Art / Life Institute, Kingston, NY 2016 Laundry Loops at JOB /// IV Soldier's F.A.G. Feminist Art Group at Panoply Performance Lab, Brooklyn, NY 2016 Q: INFORMATICUS, P)REPARING THE REAL , The Panoply Performance Laboratory, Brooklyn, NY 2016 Performances Sketches / Clara Diamond's Residency at Art/Life Institute, Kingston, NY 2015 The Q: Entity , The Art/Life Institute, Kingston, NY 2015 The Silent Mass Generator Workshop , Grace Exhibition Space Archive, Kingston, NY 2005 Mirror , Taylor Hall at Western State College University, Gunnison, CO 2002 What Do We Have? / Vanity / Death, Jaquelynne Brodeur & Nina Isabelle, The Gunnison Art Center, Gunnison, CO 1999 The Dischordant Student , Jewett Center, Salt Lake City, UT Video Production 2022 Documenting Process: Cai & Le Xi 2022 Documenting Process: Josh Babu 2022 Steve's Dream 2021 Documenting Process: Shola Cole AKA Pirate Jenny 2019 Documenting Process: Linda Mary Montano 2019 Documenting Process: The Architecture of a Stream by Valerie Sharp 2018 Documenting Process: Decompositions by Brian McCorkle 2018 Seemripper https://vimeo.com/296678389 2018 Video Manifestation System, Human Trash Dump, https://archive.org/details/htdc005 2016 The Eucharist Machine, 4:48, https://vimeo.com/189071199 2016 Certain Solutions For Solving Problems, 8:40, https://www.youtube.com/watch?v=ltIadB4FuFI 2016 Domestic Loops, 6:20, https://www.youtube.com/watch?v=AeEYUtCZbKY 2016 Mother Vs. God, 0:47, https://vimeo.com/176222556 2016 IBM- Tech City Re-Vision , 0:55 https://vimeo.com/182476408 2016 The Giant Candle - Environmental Healing Spell By Proxy , 2:43, https://vimeo.com/182594886 2016 Locational Trauma Transform, 2:54 https:https://www.youtube.com/watch?v=crlDcMZfy1M 2016 Performance Sketch at Art/Life Institute https://youtu.be/XzNUWDwvOTk 2016 The Story Of Terror / Ax In The Stump https://vimeo.com/176227354 2016 Building Connections https://www.youtube.com/watch?v=8YdGO-7zrSY 2016 C O D E https://www.youtube.com/watch?v=EcxJ4pHX8WE 2015 Feeding The Entity https://vimeo.com/140719399 2015 Siblings https://www.youtube.com/watch?v=LR4ErG0Khvc 2015 Q:Entity at Art/Life Institute https://www.youtube.com/watch?v=5joer_gcyKQ Curating / Hosting / Facilitating 2022- iEar Salon curatorial committee member, Rensselaer Polytechnic Institute, Troy, NY 2021- 2022 Sound of Ceres- facilitate set construction & studio space for production of Emerald Sea 2022 - BIRTHDAYARAMA - Linda Mary Montano's 21 hr. Zoom Birthday Party 2021 Michelle Temple at Three Phase Center, Stone Ridge, NY 2021 Shola Cole- Drawing, Welding, & Construction for Time Travelers 2020 Notice Recording presents New Music & Free Jazz, Three Phase Center, Stone Ridge, NY 2020 Social Dissonance, Paul McMahon, Three Phase Center, Stone Ridge, NY 2019 FUTURE: Shola Cole AKA Pirate Jenny, Three Phase Center, Stone Ridge, NY 2019 Speed, Light, Motion & Gesture: Video Installation by Josh Babu, Three Phase Center, Stone Ridge, NY 2019 Infinity Within & Without, Cai Xi and Le Xi, Three Phase Center, Stone Ridge, NY 2019 Hurray! The Gland Doctors Graduate. Linda Mary Montano, Amanda Heidel, Arielle Ponder, Megumi Naganoma, and Lynn Herring 2019 Lorene Bouboushian & The Undoing And Doing Collective, Three Phase Center, Stone Ridge, NY 2019 The Architecture of A Stream by Valerie Sharp, Three Phase Center, Stone Ridge, NY 2019 Public Vortex Weaving by Jennifer Zackin, Three Phase Center, Stone Ridge, NY 2018 The Malleability of Memory by Ernest Goodmaw, Three Phase Center, Stone Ridge, NY 2018 Eleven Modes of Decomposition by Brian McCorkle, Three Phase Center, Stone Rodge, NY 2018 The Obstructionist: Empathy Blinders & Dramatic Object Making with Elizabeth Lamb & David Ian Bellows / Griess, Three Phase Center, Stone Ridge, NY 2018 Thinkers & Doers Feminist Workgroup with Ernest Goodmaw, Havarah Zawoluk and Anna Hafner, Three Phase Center, Stone Ridge, NY 2017 The Shirt Factory Centennial Performance & 3rd Floor Pop Up, The Shirt Factory, Kingston, NY 2016 Animal Maximalism Performances at Green Kill, Green Kill, NY 2016 Alice Teeple, Now Is Real , Star House Gallery, NY 2015 Owen Harvey, The Local Gallery, Kingston, NY 2015 Recent Paintings by Chad Gallion , Star House Gallery, Kingston, NY 2015 Through The Lens : The Sudbury Photo Show, Star House Gallery, Kingston, NY 2014 Adam & Jeff: An Abstract Painter and His Mentor , Star House Gallery, KIngston, NY 2014 Parallel Places: Owen Harvey / Michael Hunt , Star House Gallery, Kingston, NY 2014 The Cedar Tavern Phone Booth Show, Star House Gallery, Kingston, NY 2013 Isaac Abrams / Kelly Bickman , Star House Gallery, Kingston, NY 2013 Narrative , Star House Gallery, Kingston, NY 2013 Artist Talk: Kerry Mueller , Star House Gallery, Kingston, NY 2013 Diagnosis: Artist , Star House Gallery, Kingston, NY Awards/ Fellowship 2022 - Rensselaer Graduate Fellowship Bibliography - Widman, Theresa. "Nina Isabelle - Artist, Thinker, Observer." I want What She Has . 2 Aug. 2021. Podcast. - Beetle & Freedom Walker. The Black Meta- Psychic Self-Defense: Artist, Nina Isabelle" 4 May. 2021. Podcast. Radio Kingston WKNY. -Santullo, Kerry. “‘Meet The Makers - 5 Minutes with Artist Nina Isabelle.’ "Children's Museum of the Arts New York, 21 Oct. 2020, cmany.org/blog/view/5-minutes-artist-nina-isabelle/ . - Hynes Institute for Entrepreneurship & Innovation, and Danny Potocki. "E-talk with Nina A. Isabelle." YouTube. YouTube, 15 Oct. 2020. Web. 22 Dec. 2020. -"The Shape of a Feeling & the Language of Organizational Structures." The Esthetic Apostle. October 2019. Web https://www.estheticapostle.com/the-shape-of-a-feeling -https://www.greenearts.org/no-nudes-no-sunsets-a-photography-exhibition-opens-august-11/ - Varalla, Adriana. "12th Annual NYC Anarchist Art Festival." /anarchistbookfair.net/sites/default/files/Anarko%20Lab%202018%20PRESS%20RELEASE.pdf -Bresnan, Debra, "Activating Perception - Nina A. Isabelle." MAD Kingston. May 2017. Web -"GALERII Eesti Performance'i Grupp Non Grata Esines New Yorgi Anarhismi Festivalil."Õhtuleht. N.p., 24 May 2017. Web. 26 May 2017. - Elissa Garay, "Kingston: Capital of Culture." Chronogram. March 2017: p. Print. - Mills Messner, Heather. "Featured Artist Nina Isabelle." Aife Media Fall/Winter 2016: p.22-23. Print - Josh, Ryder, and Rutigliano Dario. "ARTiculAction Art Review // Special Issue." Issuu. Articulaction Art Review, Jan. 2016. Web. - Rutigliano, Dario, and Josh Ryder. "Nina Isabelle." ARTiculAction Art Review Jan. 2016: 124-49. Print. - Isabelle, Nina A. "Fashion Trends." Goodlife Youth Journal 5.1 (2016): p.20. Print. - George, James. "Nina Isabelle at Falls Church Arts, Bold & Bright." Arlington Art Examiner. 2014. Web. - Malcolm, Timothy. "Stumps For The Outsider." Record Online. Times Herald-Record, 13 Sept. 2013. Web. - Gussin, Bruce. "If It Isn't Not Broken Don't Unfix It." Blog post. Life and How to Live It. 5 Dec. 2010. Web. Residency 2006 Artist in Residence, Gunnison Art Center Summer Residency Program, Gunnison, CO Workshops 2018 Movement Metaphors Time Traveling Workshop, Healing + Art / Radical Domesticity, Kingston, NY 2017 Experimental Archery & Mark Making, Rosekill, Rosendale, NY 2017 Metaphors of Movement, Body Systems, Disease, and Society, Grace Exhibition Space, Brooklyn, NY 2015 The Silent Mass Generator Workshop with Clara Diamond, GES Archive 411 Studio, Kingston, NY Teaching 2014-2016 Photography, Hudson Valley Sudbury School Photography CO-OP, Kingston, NY 2016 Art History & Ideas, HVSS Art History CO-OP, Kingston, NY 2016 Introduction to Digital Photography, The Shirt Factory, Kingston, NY 2003-2006 Modern Dance, Gunnison Arts Center, Gunnison, CO 2006 Oil Painting Workshop, Crested Butte Center of the Arts, Crested Butte, CO 2006 Oil Painting Workshop, Gunnison Arts Center, Gunnison, CO 1988-1990 Kids Photography and Dark Room, Woodward Camp, Woodward, PA References -https://cmany.org/blog/view/5-minutes-artist-nina-isabelle/ -Hynes Institute for Entrepreneurship & Innovation, and Danny Potocki. "E-talk with Nina A. Isabelle." YouTube. YouTube, 15 Oct. 2020. Web. 22 Dec. 2020. - anarchistbookfair.net -https://www.greenearts.org/no-nudes-no-sunsets-a-photography-exhibition http://www.greenearts.org/patricia-fields-artfashion-show-comes-to-catskill/ https://madkingston.org/2017/05/09/nina-a-isabelle/ http://us6.campaign-archive2.com/?u=9bbde55ac06fd4ebf2c0424ae&id=ef278b43c7 http://bangkokundergroundcinema.com/day-3-bridge/ https://justsituations.wordpress.com/ http://www.ivcastellanos.com/feminist-art-group/ http://romansusan.org/following/all/romansusan.org/Property https://madkingston.org/reframed-ritual-nina-isabelle-3715/ https://www.timeout.com/san-diego/things-to-do/the-dead-are-not-quiet-and-the-haunted-art-of-t-jefferson-carey http://artisbeing.com/blog/2016/9/28/san-diego-art-institute-the-dead-are-not-quiet-gallery-exhibiton https://greenkill.org/2016/10/12/nina-isabelle/ http://www.artlifekingston.com/blank-e19y5 http://cicamuseum.com/artist-and-location/ http://www.jennidachase.com/2016/09/21/sn-participates-in-the-cica-artist-location-exhibition-in-gyeonggi-do-korea/

Nina A. Isabelle is a multidisciplinary artist working with abstract painting, performance art, video, photography, sound, and sculpture. HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... THE GIANT WEED WEB IV SOLDIER'S F.A.G. (FEMINIST ART GROUP) at ROSEKILL SEPTEMBER 2016 Feminist Art Group founder IV Castellanos of IV Soldiers Gallery curates a group of artists at Rosekill Performance Farm in Rosendale , NY for a weekend of building and performance. Elizabeth Lamb, Kaia Gilje, Amanda Hunt, Lorene Bouboushian, Nina Isabelle, Quinn Dukes, Anya Liftig, IV Castellanos, Jill McDermid, Claribel Jolie Pichardo.

Solvermath in an interactive experience that allows the human body to identify tones in potential relationship to physical objects. The experience involves either viewing a virtual object or holding a physical object while interacting with a tone generator tool capable of producing up to 20kHz. HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... SOLVERMATH A conceptual math model tha t proves the improbability of knowing what you’re doing Click HERE to access the Sense-Object Intake Form. Wooden Block with Wire Object 1 Rubber Ball Object 2 Steel Wool Object 3 Brick Object 4 Bolt Object 5 Axe Head Object 6 Soup Can Object 7 Light Bulb Object 8 Bees Wax Object 9 Polyfill in Plastic Object 10 Superfund Site Specimen Object 11 Purple Glass Object 12 Pear Wood Object 13 Field Crystal Object 14 Sheet Steel 5.5"x7"x.25" Object 15 Pressure Treated Spindle Cut-off Object 16 Leather-bound Cowboy Book Object 17 Sea Rock Object 18 Interactive Frequency-Generator Tool To use: Click green arrow & drag finger across bar to produce tones. Click red X to stop LINK TO SENSE-OBJECT INTAKE FORM Solvermath in an interactive experience that allows the human body to identify tones in potential relationship to physical objects. The experience involves either viewing a virtual object or holding a physical object while interacting with a frequency-generator tool* capable of producing up to 20kHz. The human body is a sophisticated and responsive module capable of intermediating, detecting, and deciphering variables outside the realm of its awareness. Solvermath uses relational math to reveal an absence of relation between sense-informed response and sense of knowing. The project is inspired by Gödel's theorems concerning the limits of provability which say that “it is impossible to give a meta-mathematical proof of the consistency of a system comprehensive enough to contain the whole of arithmetic unless the proof itself implies rules of inference different in certain essential respects from the transformation rules used for deriving theorems within the system” and that “any other system within which arithmetic can be developed, is essentially incomplete because there are true number-theoretical statements that cannot be derived in the system.” The initial phase of Solvermath collects data from individual human interactions with the frequency-generator tool and the sense-objects. The second phase uses a redesigned version of relational math to form a conceptual math model that describes the space between awareness and action, and aims to highlight the improbability of knowing what we're doing. To participate, open the Google form through this link in either a separate window, on a separate screen, or other device. Keep this page open so that you can use the frequency-generator tool above. In the form on the second screen or device, you will see images of each sense-object. Using the interactive frequency-generator tool on this page, find the Hz frequency (or range of frequencies) that you sense correspond to the visual image (for remote participants) or the physical object you are holding in your hand (for those participating physically.) Enter the numbers into the form field associated with each image. To use the interactive frequency-generator tool, slide the finger back and forth on the bar from 1Hz - 20,000Hz. Click the green arrow to sense & hear the sound. Click the red X to stop the frequency. You'll notice the Hz number changing as the finger slides back and forth. You may also enter any number between the two arrows to experience a frequency between 1 Hz and 20 kHz. The frequency-generator tool produces tones that travel through the air as waves that the human body can detect through somatic listening. The experience is not designed to be used with head phones or earbuds. If you are participating remotely, view each image while interacting with the tone-generator tool and choose the tone (or range of tones) you feel represent the object in the image. Enter the Hz number(s) you identify with each object into the form with the corresponding image. For those who have access to the physical objects, hold the object in one hand while sliding a finger back and forth on the frequency-generator tool. You may detect a vibrating sensation in the hand-held object in response to certain frequencies or within a range of frequencies. Enter the numbers of the frequencies you notice into the form. Please enter your real or fake name, the real date, and indicate either "Remote" or "Physical" for each entry. After you submit the form, you will see the message "Thank you for participating with Solvermath! Your response has been recorded." This means your submission has been accepted and recorded. You may participate as many times as you like. Email questions or comments to Nina Isabelle at isaben@rpi.edu or to schedule physical access to sense-object set. *frequency generator designed by Tomasz P. Szynalski / modified by Brian McCorkle

The Random Community Generator - a social experiment by Nina Isabelle Nina Isabelle HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... RCG1-1 18x26, oil on canvas RCG1-2 18x26, oil on canvas RCG1-3 18x26, oil on canvas RCG1-4 18x26, oil on canvas RCG1-5 18x26, oil on canvas RCG1-6 18x26, oil on canvas RCG1-7 RCG1-8 18x26, oil on canvas RCG1-9 18x26, oil on canvas RCG1-10 18x26, oil on canvas RCG1-11 18x26, oil on canvas RCG1-12 18x26, oil on canvas RCG1-13 18x26, oil on canvas RCG1-14 18x26, oil on canvas RCG1-15 18x26, oil on canvas The Random Community Generator February 24, 2014 by Matthew Gioia The Random Community Generator is an interactive project designed to generate a random community of 15 people who, by either purchasing or bartering for one of the pieces in the series, agree to become acquainted with the owners of the paintings which come before and after theirs in the series. The series is itself a “community” of 15 visceral and boldly colored 18x26 oil paintings. Energetic and defiantly opaque, the paintings contain aggressive elements which thrust themselves off the painted surface, longing for release into the third dimension. Discreet rivers and pockets of luminous color saturate the canvas beneath criss-crossing paths of uncertain trajectory. Yet despite their apparent abstraction, there is a creeping sense that the paintings are actually a concrete rendering of the vertiginous tumult of impulse, image, and ancient emotion that swirls just below the more or less ordered surface of human consciousness; the tumult which divides the world from our knowledge of it. Produced as one massive painting by hanging 15 canvases in a tight row and applying elements in a sequential manner from beginning to end, the series expresses varying degrees of chance and manipulation which interplay within each piece as well as throughout the collective whole. Thus, the paintings are separate yet inextricably linked by elements which move ecstatically across multiple canvases. Taken as a whole, the project is a map of a mind, which is - in the first and the last instance - communal, complex and messy, organized by the logic of dreams. The interactive component of the series is laid out as a social and interpersonal experiment designed to facilitate an examination of the perception of separateness and identity. First, the project asks, “can a randomly generated or accidental community be as meaningful - or even more meaningful than a community based on occupation, convenience, interest, or faith?" And then the Community Generating begins dealing in ideas, and tips into abstraction. By challenging our stagnant definitions of community, the project asks us to look at the division between our private and public life, between the kind of community we would most like to be a part of and the kind of community we actually create, and between the people we are, the people we think we are, and the people other people think we are. Indeed, the Random Community Generator, by its process of creation as much as by its experimental distribution plan, generates profound questions: is there any such thing as a distinct individual? What comprises a person? How do people overlap, echo, mirror, and create each other, consciously and otherwise? The paintings will disband, but could it ever be possible to really know any one of them without knowing the others?