Christina McPhee’s live and recorded drawings animate dense montage within images of fragile marine ecologies and seismic landscapes. “McPhee’s drawing, extended to and infiltrated with digital video, seems to outline a different and stranger project: that of creating as yet unknown material composites by aligning the rapid time-processing of our nervous systems with the emergent natures at actual sites of energy production or extraction” (Ina Blom).  Strategic linking of live and performed drawing with documentary video affords new spaces to explore vital futures.  ”In the context that McPhee provides, every line—charcoal, musical notes, cell phone light—embodies the expenditure of resources and energy necessary for the forms of capture and condensation that representation requires. As though metaphor were to be measured in kilojoules…” (Frazer Ward)

 

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2016  Microswarm Patchwalk  video /sound/drawn score moving image with music performance by Quinn Dougherty

2014  Seismic Aquifer One  video / with music by Quinn Dougherty and performance by Caitlin Berrigan

2013-14  Carbon Song Cycle / with Pamela Z   : a work for chamber ensemble, voice and electronics, and multi-channel live and programmed video

2012-2014 Carbon Cycle videos:  Carbon Surf Drawing, Solar Circuit Parts Per Million 

2012 Shed Cubed 4-channel video installation with ambient sound

2011  Penumbra Blind  video /  with music by Ava Mendoza / aftermath of the BP oil spill in marine diversity studies on the Gulf of Mexico

2011 Bird of Paradise three channel video installation / commission for Center for Visual Music

2010 Deep Horizon video / during the BP Oil Spill at the Louisiana coast of the Gulf of Mexico / with biologists of the University of Louisiana at Lafayette

2010 Latency Structures Parkfield video installation / seismic table on the San Andreas Fault with D. V. Rogers and the US Geological Service

2009 Tesserae of Venus: Ghostdance / with music by Pauline Oliveros /from the project Tesserae of Venus 

2008-2009 La Conchita N=amour  variable channel video installation  / from  La Conchita mon amour  /commission Thresholds Collection, Scotland

2009  Soda Lake Unbound / performance video / on the San Andreas Fault at Carrizo Plain

2007 La Conchita Paradise video / from the project La Conchita mon amour 

2007 Latency Structures Bonneville Salt Flats 3 channel live and remote video installation / commission / with Center for Land Use Interpretation

2006-7  Carrizoprime and  Carrizoprime-net (interactive net-based work) / from the project Carrizo-Parkfield Diaries

2005  SilkyVRML422  video /  from the project Carrizo-Parkfield Diaries

2004 SALT  video / from the project Carrizo-Parkfield Diaries

2006 Strikeslip video / from the project Carrizo-Parkfield Diaries

 

 

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“McPhee’s drawing, extended to and infiltrated with digital video, seems to outline a different and stranger project: that of creating as yet unknown material composites by aligning the rapid time-processing of our nervous systems with the emergent natures at actual sites of energy production or extraction…. In such places, things are decomposed and recomposed: assemblages disconnected elements are thrown together, their point of contact making up a kairotic moment that can be mimed and propagated by video montage. Thanks to video, the promise and desperation of these sites – their striving – can be “condensed”, “extracted” and reanimated. This is a distinctly futurist form of eco-sensitivity, a state of affective engagement that is less attuned to the condition of existent beings (however important they may be) than to the sense of future crisis that colonizes the present moment. An acute feeling for an event that has already not yet happened produces some sudden and unfamiliar sedimentations – present in almost all of her work…”    – Ina Blom

“Her whole visual language is inflected with finding a form for conversations society needs to have with itself . What gives meaning to the work is deeply engaged in the currents of consciousness around the most crucial issues of our times. “  –Rebecca Prichard

“In the context that McPhee provides, every line—charcoal, musical notes, cell phone light—embodies the expenditure of resources and energy necessary for the forms of capture and condensation that representation requires. As though metaphor were to be measured in kilojoules…” -Frazer Ward

 

 


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