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  1. Carving in Possibilities

    Carving in Possibilities is a short Flash piece. By moving the mouse, the user carves the face of Michelangelo's David out of speculations about David, the crowd watching David and Goliath, the sculptor, and the crowds viewing the sculpture.
    (Source: author's description in ELC 1.)

    Eric Dean Rasmussen - 18.04.2011 - 13:28

  2. Landscapes

    Landscapes presents five animated canvases which together comprise a dreamscape of anarchic play, urban order, and media saturation. Each landscape pairs a short Biblical proverb with a series of images taken from street protests, multimedia conferences, Hollywood films, and other private and public sites. The proverb in each of the landscapes scrolls on a loop across the screen and is "locked" in position behind a viewing portal. To read the proverb is to make do with the fractured characters visible through small holes in the portal.
    (Source: Author description, ELC vol. 1).

    Eric Dean Rasmussen - 11.05.2011 - 09:16

  3. While Chopping Red Peppers

    Like the advice given by the speaker’s father, this kinetic and aural poem is all about “presentation and perfect arrangement.” It is about knowing where to cut visual and aural language, images and sound clips, arranging them on the poem’s space to make an impression. Yet while the speaker seems to be learning what her father has to say, one can sense the tension in her as she conforms to a vision of how one presents oneself and in what contexts. The masculinity of the images juxtaposed with the words “a firm handshake, after church” contrast with the more feminine figure we see leaning by the stove or hunched in silhouette. Listen to this poem and you’ll realize that it hovers in that space between tradition and innovation, expressive orality and through new media, conformity and rebellion, and different types of distance and proximity. (Source: Leonardo Flores, I ♥ E-Poetry)

    Meri Alexandra Raita - 03.03.2012 - 19:29

  4. Archetypal Africa

    In this work, Bigelow takes everyday objects (stapler, chair, spoon) and elevates them to archetypal status through several strategies:

    * short, looping background videos (with audio) of natural scenes, usually focused on animals or plants, intercut with brief images of the object being discussed.

    * A poetic description of the object, using metaphor, personification, and other figurative language to highlight their function or role.

    * A scheduled set of fake historical events involving the object, often absurd and hilarious, including the location and the date in which they happened.

    This level of attention to everyday objects is parallel to Gertrude Stein’s Tender Buttons, but with a different approach to its language choices. While Stein chooses language that belongs to the same semantic frame of the objects she describes, Bigelow breaks (or blends) the frames to take a twist towards the absurd. These objects become archetypal because they are presented as tools that shape their creators as much as the world around them, connecting them to nature and humanity at a global level.

    eabigelow - 28.06.2012 - 03:41

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