Making Time and Index Art Center: On the Same Wavelength By Patti Jordan

Left: Monica Mazzone, Center: Ginger Andro and Chuck Glicksman, Right: Brandon Neubauer

Situated in an edgy, high-ceilinged industrial building in the heart of Newark, NJ, Index Art Center is an opportune space for the audacious exhibition, Making Time.  The “making” in Making Time does not go overlooked as a common narrative that dynamically integrates modes of digital experimentation with the low-tech and analog.  An inherent value for the artisanal and traces of the hand exist at its core and are experienced as an underlying subtext, as is the manipulation of time.  Levels of viewer interaction and immersion are manifold in two and three-dimensional renditions as well as multimedia installations incorporating the elements of sound, video, kinetics and augmented reality.

Nimbly enacting a non-linear experience of “space-time,” one is encouraged to circulate through the exhibit counterclockwise from gallery entrance.  To complement this curatorial intent, Making Time is staged in a dimmed ambient light that sets a discretely introspective tone so that each individual work is not overshadowed; this effect creates a kinesthesis between all of the artwork within the gallery interior.  Light is then used as a phenomenon which is either internally inscribed or emanating from some of the media and is deliberately interspersed throughout.

Brandon Neubauer Six Months from Now, from the series It’s Sad but the Telling Always Takes Me Home, 4 unique color C-Prints and color UHD 4K video on 8:30 loop, 2007 – 2017 (detail)

One then aptly encounters Brandon Neubauer’s Six Months from Now, from the series It’s Sad, but the Telling Takes Me Home.  Documentation spanning from 2007-2013, Neubauer’s multimedia installation is an autobiographical work verging on self-portraiture and possesses an aura that transports the viewer somewhere else.  Large chromogenic prints line the walls and surround screen-based video stills as Neubauer’s romantic landscapes counterbalance vast expanses of sky and farmland with repeated shots of an isolated tree – a specter of sorts.  For the most part, this photographic presentation hinges on dissecting the moving image into frame stills, a reversal of videography processes, as well as time.  Erratic lighting and cross-processing techniques accentuate permutations in the photographs by fusing technology and modes of documentation with the handcrafted, whilst evoking vestiges of prehistory in the shot location, Neubauer’s ancestral property.  Concepts of naming and personal identity are etymologically reinforced in the artist’s surname – the English translation of Neubauer is “new farmer.”  Lending an added agency to the work, the artist encourages one’s own personal narratives and interpretations to be realized in viewership.

Ginger Andro and Chuck Glicksman Jumping Hurdles motorized Praxinoscope on stand, hand colored prints on watercolor paper, scent, mirror, wood and steel, 57” x 36” x 36”, 2014

Complementary to Neubauer’s staging is a motorized praxinoscope by the duo of Ginger Andro and Chuck Glicksman, Jumping Hurdles.  With much stimuli of late being ciphered or mediated, this captivating, low-tech installation summons immediacy and the visceral through combined action, or “praxis,” and materiality.  (The praxinoscope is a rotating device which, when set in motion, reflects single images from its central cylinder).  As Jumping Hurdles rotates, light, scent and sound emanate.  Muybridge’s pioneering of motion picture projection is latent in the work – albeit inverted, as are Virillo’s theories on dromology and perceptions of speed.  And despite signs of the high and equestrian, this scopic object dually invokes dromological notions of the low: roulette tables, race tracks, “the will to win” and “the need for speed” are easily conjured.  Inferences to the irreverent idiom “one-trick pony” are befitting in that as the equine image cyclically repeats it maintains an inaccessible self-referentiality in construction and connotation.  Moreover, the praxinoscope’s conical fabrication creates an overt void in the installation – a dark steel, spinning vortex appears to engulf the space and the objects around it.  In a cheeky and slightly derisive way, this conical form plays with allusions to Making Time as it duplicitously serves, with all its sensory trappings, as either an entrance into infinity, or, fast-moving, sexually implicit content.  The aforesaid components thus intermingle to produce a highly enlivened yet isolated live event.

Set on black and white plinths, Melissa Fleming’s cabinets of curiosity elicit the otherworldliness of natural phenomena. Fleming is preoccupied not only with the graceful object but with the act of viewership itself; each display beckons up-close, heightened inspection. Highly graphic treatments in her Under Glass series accentuate form in space as they enhance light and shadow and fluid reflections, expertly evinced in Memory, 41 years. The artist furthers investigative processes by introducing a refined sensibility to systems for naming and classifying the natural world; serif fonts intonating titles and related data are engraved into the Victorian-influenced domes that encase her specimens. Recalling a sense of place, Under Glass equally reinstates notions of time in the act of preserving and recording.

Shuli Sade Afterimage #1 – #11, photograph, Augmented Reality, 2019

Other curated pieces that reflect, refract or imbue light in some manner and achieve considerable agency include Shuli Sade’s interactive, augmented reality photographs, Major Zipper and Afterimage #1-11, and Sizhu Li’s elegant Trace of Time, an additional motorized environment stationed in the corner of the gallery.

Wolfgang Gil Aural Fields Zero
Generative sound installation, 2019

Emergent media often involves engaging with processes of accessing, evaluating, and creating the material conditions in the given environment it will inhabit in order to achieve optimum results. Staged center of gallery, Wolfgang Gil’s state-of-the-art Aural Fields Zero investigates generative, multi-channel sound through customized audience experiences that showcase its sagacious potential. Similar to the crafting of a malleable abstraction which can ostensibly be manipulated into limitless configurations, sound here functions viscerally. Through interactive moments of audience-induced amplification, this installation enables the act of listening to also be experienced as a medium redefined through non-prescriptive interpretations of real time. One can surmise from empirical experience with the work that the “Zero” in Aural Fields may also equate to translations of space and time that are neither additive nor subtractive but exist as a preconceived neutrality – a sonic baseline from which audience interaction as an authentic “event” can organically materialize.

Gail Biederman, Lost 5 (Brooklyn), handmade felt, yarn, nails, plastic balls, 89” x 79” x 7 ½”, 2018

Gail Biederman also uniquely reframes space and time in two site-specific installations from her Lost series. Comprised of spiky nails and handmade felt, Biederman repurposes the sensory with knotty residuals from original wall drawings made for specific spaces. While the initial prototypes utilized self-conscious rigor in deliberation, these new permutations rely on chance and unexpected outcomes, thereby engaging in a re-enactment of autobiographical content through new morphologies within the current location.

In light of the above, sensory interaction in Making Time appears to be an integral, comprehensive component for an inimitable experience of the varied and innovative media represented.

Patti Jordan is a New York City-based interdisciplinary artist, writer, and educator working within the spheres of visual and media culture. Her creative practice prioritizes materiality as well as alternative and process-based approaches to aesthetics. She has written art reviews, manuscripts and business case studies for such publications as Artefuse, Intellect Publishing, Bloomsbury Fashion Central, AS/Artist Studios, Fashion Mannuscript Magazine, and the Women’s Caucus for Art’s International Caucus.

Wavelength is a collaborative project founded by Gianluca Bianchino and Jeanne Brasile whose curatorial practice bridges art and science through immersive exhibitions and symposia. Making Time is at Index Art Center’s Main Gallery May 18 – June 14. Artists include Ginger Andro and Chuck Glicksman, Chris Arabadjis, Gail Biederman, Melissa Fleming, Wolfgang Gil, Jay King, Sizhu Li, Monica Mazzone, Brandon Neubauer, Shuli Shade, and Travis LeRoy Southworth.

Located at 237 Washington St. in Newark, NJ, Index Art Center is a non-profit exhibition space committed to supporting Newark’s community of emerging art and artists. Index Art Center continues to serve as a vital platform for critical dialogue around current and emergent issues in contemporary art.

Ekaterina Smirnova: Rendezvous with a Comet

“Each of us is just a little part of the Universe, so versatile and limitless.  I would like to understand our place in it, our triviality in the universal and our significance in the planetary scale”                                                                                                                                                   – Ekaterina Smirnova

Ekaterina Smirnova is a New York based artist.  She is highly inspired by science, particularly the realms of astronomy, physics and chemistry.  Smirnova collaborates with scientists from around the world, interpreting their research into art.  She works in multi-media formats including; large-scale watercolor paintings, ceramic sculptures, musical collaborations and interactive electronics.  She spoke with Wavelength from Hokkaido, Japan where she is presently researching new projects.

WL:  Your work has been recently featured on the Discovery Channel, in addition to numerous publications and gallery exhibitions.  Your practice revolves around the subject matter of space exploration and technology.  What is about space exploration that captures the human imagination?

ES:  We are all dreamers, we like to look at the stars. But some of us go beyond appreciating the beauty of the night sky. I am talking about scientists, people who dedicate their life to exploring the unknown. Their work is very important and isn’t easy, especially when they work on something that is not even proven to be true yet and many doubt the outcome of this work (for example scientists of the European Space Agency for many years has been working on the project called LISA Pathfinder, which is designed to explore gravitational waves, but the proof of gravitational waves just happened last year in 2016.)  As an artist I have a personal goal, I would like to make the scientific work more visible to every-day observers, to highlight the efforts of a large group of scientists

WL:  How and when did your interest in space develop?

ES:  I was born in USSR, the country which sent the first man to space. Yuri Gagarin was a big hero, every child knew his name and wanted to become him too. I would say that between this fact and that my father is an engineer and I was very interested in technology and space, I grew to appreciate everything related to space.

WL:  Your reference is space imagery created by dynamic painting techniques.  What do you wish to impart to the viewer with your representations of your subject matter and what are the impacts for viewers with regard to your unique processes?

ES:  I often use photo references created during various space missions, sometimes I use my own photography of the night sky. But my focus is not to be an illustrator and represent something precisely, I try to give my paintings freedom and looseness. Watercolor is a perfect medium for that. I love the way water is hard to control and the textures it creates by moving the pigment. I approach my painting techniques scientifically.  For example, I do experiments with self-mixed paints, I explore various waters and their behavior on paper, I sometimes even grow crystals on my paintings. All of it hopefully will attract my viewers to explore my paintings closer, discover new patterns, notice water marks, study how gravity plays a big role in my creation process. To me the creative process is as important as the subject matter

67P III and 67P II, watermedia on paper, 70″ x 52″ each, 2015

WL:  In making the watercolor painting series project 67P, based on the Rosetta mission, you incorporate experimental techniques that replicate the conditions of the comet.  Can you briefly explain to our readers what the Rosetta mission is and describe why the mission is of such importance to you presently?

ES:  Rosetta mission of the European Space Agency ( is a very unique one, because for the first time we not only explored a comet (67P/Churyumov–Gerasimenko) so close, but also landed a robotic probe on it. Questions like how did water come to planet Earth and how does life travel through the universe are beginning to be answered because of this mission. One of my main focuses of this art project is the water on the comet. Water on 67P was discovered to be different from Earth, that’s why I thought it would be great if I could re-create this water and use it to paint my comet views.

WL:  Can you describe the phenomenon of heavy water in general and how you create and use it in your paintings?

Process of electrolysis, enriching New York tap water with heavy water.

ES:  Rosetta discovered that water on the comet has the highest level of heavy water ever found in nature. Heavy water (deuterium oxide, 2H2O) is a form of water that contains larger than normal amount of the hydrogen isotope deuterium (2H or D), rather than the common hydrogen. On Earth, deuterated water occurs naturally in normal water at a proportion of about 1 molecule in 3,200. On the comet 67P it is 3 times higher. The HDO may be separated from normal water by distillation or electrolysis

WL:  How did you learn to create heavy water?  Did you research this independently or did you speak with scientists?

ES:  When I decided that it was important to use heavy water, I needed to figure out where to get it. So I started doing research. I realized that it is actually possible to concentrate it from the regular New York tap water via electrolysis.  I don’t like simple solutions I guess, so to make things more complicated I had to make my own electrolysis device out of an AC/DC adapter.  I had to consult a few of my friends – a chemist and an electrical engineer. Both said it was possible.

WL:  Does it feel different to use water colors with the water that has undergone the process of electrolysis?

ES:  Actually, there is no visual difference at all. But this is not what is important. By going a long way to create this special water to paint with, I want to share with my viewers a bit of science behind the space mission. Everyone who saw this pretty process of electrolysis (tiny bubbles of split water H and O streaming rapidly up) and heard me talking about Rosetta’s fascinating discoveries are becoming genuinely interested in this mission. And this is my main goal.

WL:  Is this experimentation in your artistic process enjoyable or confounding, or both at times?

ES:  I believe that artists and scientists have a lot in common. Both have an inquisitive mind. For me it is natural to do different types of experimentations, finding solutions to problems, testing and so on. Not every experiment is a successful one, which can get frustrating of course, but generally I take a big pleasure in experimenting, sometimes even losing myself in it and forgetting the main job – which is to create an artwork.

67P work is displayed during Planetary Science symposium, Pasadena, California, 2016.  Viewers are interacting with paintings using augmented reality.

WL:  Is this experimentation in your artistic process enjoyable or confounding, or both at times?

ES:  I believe that artists and scientists have a lot in common. Both have an inquisitive mind. For me it is natural to do different types of experimentations, finding solutions to problems, testing and so on. Not every experiment is a successful one, which can get frustrating of course, but generally I take a big pleasure in experimenting, sometimes even losing myself in it and forgetting the main job – which is to create an artwork.

Solo show at the European Space Agency, 2016.  Model of the Rosetta spacecraft (left), 67P III (right) , watermedia on paper, 70″ x 52″


WL:  Your work is often presented in non-traditional painting formats that are quasi-installation-like, such as large scale multi-panel paintings on paper in asymmetrical configurations.  What are the artistic concerns that bring about these specific presentations?

ES:  I always thought that rectangular formats are a bit “square,” lol, if you know what I mean. Who decided on this standard and why do we need to follow?  In my opinion art does not have rules. I like to work on odd formats, sometimes adding extra paper to a standard format, sort of getting out of the canvas. For the celestial paintings the inspiration comes from the space photo collages, where an image can take a random shape, what is outside of the shape – is missing data. Unfortunately the gallery world is not really prepared for the odd formats, which often causes different framing problems.


The Shift, watercolor on paper, 87″ x 169″, 2013 – solo show at Kofu City Hall, Japan

WL:  What is next in the studio?  Is there a new project you are currently interested in?

ES:  This year my focus is the environment. I believe this is an important and more urgent topic. At the moment I am researching snow in subarctic regions in Japan. Snow is very sensitive to temperature, so it represents climate change better than anything else. I would like to continue working with scientists and already had a meeting with a glaciologist and a planetary scientist at the Low Temperature Institute in Sapporo. In the spring I will be participating in a science symposium of the European Geosciences Union. My session is “Scientists, Artists and the Earth: co-operating for a better planet sustainability.”  I would like to accentuate your attention to this big problem that we have globally, so that together we will be able to solve it.

For more information about Ekaterina Smirnova, visit her website

Ekaterina Smirnova was recently featured on the Discovery Channel speaking about the Rosetta Mission.  Watch the video here