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.”

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... ​ FEMINIST ART GROUP (F.A.G.) doing JUST SITUATIONS June 23, 2017 Grace Exhibition Space Brooklyn, NY ​ "Just Situations is a hybrid conference, festival, and “political science fair,” hosting artists and active citizens who are working in performative ways, moving beyond the trending commercialization of art “about” politics, into non-representational and non-reproductive modes of performance which directly construct, speculate, design. position, and posit “just” forms of political, social, and personal human being and becoming." ​ "States of unknowing, collectivity transcending and social becoming are workshopped and parsed, particulated and presented." ​ ​ JUST SITUATIONS is a project of the Brooklyn International Performance Art Foundation (BIPAF). BIPAF is an ongoing (since 2013), communal, and demi-anonymous/open-source platform for performance of socially-constructive institutional critique. ​ https://justsituations.wordpress.com/ ​ IMG_E6818 Thea Little, IV Castellanos Elizabeth Lamb Quinn Dukes Elizabeth Lamb Elizabeth Lamb Elizabeth Lamb Elizabeth Lamb Elizabeth Lamb, IV Castellanos 1/1

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... MOTHER VS. GOD SAN DIEGO ART INSTITUTE / THE DEAD ARE NOT QUIET OCTOBER 2016 ​ Mother vs. God uses personal photographs combined with multiple sound tracks of digitally altered voice and electronic violin. The compilation of multiple media and input results in a distortion that parallels the dialogue that can exist between religious beliefs and psychotic delusions. In October 2016 Mother vs. God was chosen by Marilyn Manson’s Daisy Berkowitz, Scott Mitchell Putesky, as part of The San Diego Art Institute’s show The Dead Are Not Quiet.

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... SALIENT MEMORY MANIPULATING PENDANT LAMP FEBRUARY 2017 Using neon plexiglas, colored lights, and fabric, the Salient Memory Manipulating Pendant Lamp alters the psychic terrain of interior design, creating, building upon, and forcing suggested memory implants of a "magical childhood," and "parental idolization." SALIENT MEMORY MANIPULATING PENDANT Hanging Light Sculpture: Using neon plexiglas, colored lights, and fabric, the Salient Memory Manipulating Pendant Lamp alters the psychic terrain of interior design, creating, building upon, and forcing suggested memory implants of a "magical childhood," and "parental idolization." SALIENT MEMORY MANIPULATING PENDANT Hanging Light Sculpture: Using neon plexiglas, colored lights, and fabric, the Salient Memory Manipulating Pendant Lamp alters the psychic terrain of interior design, creating, building upon, and forcing suggested memory implants of a "magical childhood," and "parental idolization." SALIENT MEMORY MANIPULATING PENDANT Hanging Light Sculpture: Using neon plexiglas, colored lights, and fabric, the Salient Memory Manipulating Pendant Lamp alters the psychic terrain of interior design, creating, building upon, and forcing suggested memory implants of a "magical childhood," and "parental idolization." SALIENT MEMORY MANIPULATING PENDANT Hanging Light Sculpture: Using neon plexiglas, colored lights, and fabric, the Salient Memory Manipulating Pendant Lamp alters the psychic terrain of interior design, creating, building upon, and forcing suggested memory implants of a "magical childhood," and "parental idolization." SALIENT MEMORY MANIPULATING PENDANT Hanging Light Sculpture: Using neon plexiglas, colored lights, and fabric, the Salient Memory Manipulating Pendant Lamp alters the psychic terrain of interior design, creating, building upon, and forcing suggested memory implants of a "magical childhood," and "parental idolization." SALIENT MEMORY MANIPULATING PENDANT Hanging Light Sculpture: Using neon plexiglas, colored lights, and fabric, the Salient Memory Manipulating Pendant Lamp alters the psychic terrain of interior design, creating, building upon, and forcing suggested memory implants of a "magical childhood," and "parental idolization."

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... BANGKOK UNDERGROUND CINEMA ​ The Bangkok Underground Film Festival 2017 program consists of a series of events across multiple venues in Bangkok. Co-organised by Speedy Grandma , emesis , Bridge Art Space & Jam Caf é , with support from VS Service , Projectionist Asia , Panda Records and Museum Siam . ​ MARCH 5-12, 2017

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... CAVE GIRL ​ FAKE PHOTO DOCUMENTATION OF PROFESSIONAL NON-PERFORMANCE BASED PERFORMANCE All information including location, artist, photographer, subject, process, object, intention, dimensions, medium, duration, software, hardware, is unimportant and disallowed. ​ JULY 9, 2017 Documentation #1 Location, artist, photographer, title subject, and intention are undisclosed and unimportant. Documentation #2 Location, artist, photographer, title subject, and intention are undisclosed and unimportant. Documentation #3 Location, artist, photographer, title subject, and intention are undisclosed and unimportant. Documentation #4 Location, artist, photographer, title subject, and intention are undisclosed and unimportant. Documentation #5 Location, artist, photographer, title subject, and intention are undisclosed and unimportant. Documentation #6 Location, artist, photographer, title subject, and intention are undisclosed and unimportant. Documentation #7 Location, artist, photographer, title subject, and intention are undisclosed and unimportant. Documentation #8 Location, artist, photographer, title subject, and intention are undisclosed and unimportant. Documentation #9 Location, artist, photographer, title subject, and intention are undisclosed and unimportant.

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... TEN THOUSAND OBJECTIVES I was interested in trying to figure out how the body knows what it knows — specifically, the somatic experience of tangible material, the cognitive experience of intangible concepts, and the interplay between these four variables. I was also interested in how repetition seems to create the potential to sidestep consciousness, and I wanted to experiment with that notion to see if I could access different modes of perception or ways of knowing by engaging in a repetitive action for an extended length of time. In setting up the framework for this performance, I mapped out and identified all the parameters that I was able to. I decided on the timeframe and squared off the surface area of my work space. This gave me a way to control the tangible aspects of the performance. By laying out this semi-structured plan, I hoped to create a situation where intangibles and surprises could occur. Starting in the middle of an eighteen foot square of floor space, I set out to make one thousand pinch pots within a span of four hours. I imagined the pots would fill the entire work space and somehow be equally distributed. I counted the pots as I went along and kept track of them in ten groups of ten — something I realized was necessary as I went along and realized would be the only way for me to know when I was done. I was surprised to find that, at the end of the four hours, and down to within a few minutes, I had made the exact amount I set out to make. While I was working, the span of four hours seemed to shrink down to about the feeling of twenty minutes. These are the types of perceptive phenomena I’m interested in working with and demonstrating. How did these things happen so exactly with such little planning? How and why does time seem to stretch or contract depending on levels of engagement, intention, and focus? ​ Things can be objects or subjects. While objects are tangible things abstracted from the particularness of subjects, subjects are the intangible concepts or notions we extract from objects. How do we process the intangible sense data we extract from encountering objects made of particles in the physical dimension and what do we call this process? What are the internal mechanisms we use to govern how we locate and position our physical selves in relation to objects in space? ​ For this project, I constructed and deconstructed a batch of 10,000 intangible and tangible subjects and objects as a way to set both their physical and nonmaterial aspects free. Through forming a set of 1,000 physical objects made of clay with my hands, the conceptual intangibleness of their essence was simultaneously set free and bound as it transformed into material form. Conversely, intangible concepts were released from physicality through the gestural motions accompanied by the transmutation of 9,000 subjects into nonmaterial objects. Equinox: EMERGENCY OF JOY - 10,000 THINGS SET FREE ​ Seventy one artists from around the world work together remotely and simultaneously over the spring Equinox. Organized by Chelsea Burton, Rae Diamond, Erik Ehn, Brenda Hutchinson, Suki O’Kane, “Ten thousand is rooted in the Buddhist concept of the ten thousand dharmas – an image for all observable reality." ​ MARCH 19, 2020 11:49 PM EST - MARCH 20, 2020 1:49 AM EST (Equinox at 11:49 PM EST) ​

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... THE WINDMILL WEAPON MATRON MAY 2016 ​ ​ The Windmill Weapon Matron was built on May 12, 2016 and exhibited on June 3, 2016 as part of The New School's Social Justice exhibition with The Bushwick Collective. Materials include s awhorse, l umber, co nstruction m aterials, s pray p aint, h ouse p aint, a fghans, w eapons, b icycle p arts, y arn, p laster, t erra c otta, c hain. She is 90h x 53w x 45d. ​ She is a dangerous female machine expressing an active stance and aggressive posture. She no longer identifies as passive and has most recently emerged as an international threat. Based on a jumbled compilation of afghans, defunct bicycle parts, weapons, lumber, and chain her biographical narrative has been holographically reconfigured into a destructive biological machine made of woman’s time. While The Windmill Weapon Matron acknowledges her destructive approach as a natural response to her capacity for childbirth, she hesitates to dichotomize the two simply saying “Come, let me destroy you.” Utilizing a process of defiance The Windmill Weapon Matron has successfully developed a system capable of transforming eye-rolling, financial aid application trauma, stuffed animal over population, and hair pulling as well as other sensory input bull shit into a clean, renewable, and sustainable energy source for mothers. ​ ​ Nobody will lend her a chainsaw It is safe to breed with her She makes a mockery of science Her system is nervous ​ Her face is spinning When she was a virgin politicians killed and ate her She is secular Her system has calcified ​ She loves The Antichrist She birthed a female bastard She wan’t trained up the way she should go The system tries to destroy her ​ She has nothing to depart from Rabbits fear her She has been relieved of advantage Her system is unkillable ​ ​ ​ ​

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... YARD WORK (YARD STUDIO) HURLEY, NY / MAY 2017

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... REMARKABLE NEW LOCATIONS Nye Ffarrabas & Nina Isabelle CX Silver Gallery, May- June 2019 Remarkable New Locations is a series of interactive art objects inspired by Nye Ffarrabas's poetry and produced by Nina Isabelle using a car as a printing press. The objects are interactive as they invite the viewer to engage in marking and remaking the dry erase surface as a way to facilitate perceptions of process, language, and action. The printing process involved inking each plate individually and pressing it into each sheet by driving a car over it to emboss the plate image into the saturated paper. Each piece was rolled over ten times with a car revealing various degrees of chance in the imagery. The original monoprint plate was produced using hand-etched plexiglass. Using black printmaking ink on 100% cotton 22x30 Arches 88 printmaking paper, the prints were individually processed, then hand painted using ink, gouache, and acrylic paint to highlight and color code the vowels using purple As, yellow Es, orange Is, blue Os, and green Us. The final layer is a hand cut transparent material affixed to the image surface machine stitched with orange thread. Nye Ffarrabas (formerly Bici Forbes and Bici Hendricks) has been an artist for 60 years and a poet for 80. She participated in Happenings beginning in 1961, as part of the Fluxus scene. In 1962 she interviewed several artists including Roy Lichtenstein, Bob Watts and Ivan Karp. In 1965, she established her own publishing company, the Black Thumb Press. Nye/Bici had her first solo show at Judson Gallery in 1966 and the next year performed Ordeals with Carolee Schneemann. In the 60s and 70s, Nye/Bici participated in many of the Annual Avant Garde Festival of New York events coordinated by Charlotte Moorman. Starting in 1964, Nye/Bici compiled journals as conceptual art with Geoff Hendricks, a series known as The Friday Book of White Noise which contains many seeds for her event scores. In 2019 Nye completed a mobius-strip-shaped infinite event score as a performance, installation and wall-piece.

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... THE BODY DESCRIBES ITSELF An in-progress painting series started August 2020 by Nina Isabelle. ​ My Grandmother designed leather gaskets used to strap prosthetic limbs onto amputees. Being an athlete and bodyworker, this series of paintings is an inquiry into what the body knows of its own shape and where might this knowledge come from. This is a study to learn how my own body might describe itself with line and paint. ​ Oil on canvas sizes range from 36 - 60 inches Inquire here for details and prices ​

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... WHISTLE PORTRAITS By Linda Mary Montano HiLo Catskill June 10, 2018 During these dangerous / confusing / armageddonned times we are all looking for connection, understanding, and warmth. The three of us are committed to providing public art medicine. ART=LIFE=ART. For WHISTLE PORTRAITS at HiLo, we invite audience member-collaborators to sit with us and receive a public art healing. ART HEALS!!! - Linda Mary Montano photo by Adolfo Ibanez Ayerve

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... WEST HALL OPEN STUDIO RENSSELAER POLYTECHNIC INSTITUTE TROY, NY DECEMBER 11, 2022

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... FAMILY SOUNDS THE UNGOVERNABLE ZONE ​ FORT TILDEN ​ ANARKO ART LAB AND ARTI NYC ​ Nina A. Isabelle / The Ungovernable Zone at Fort Tilden Beach / NYC Fort Tilden is a defunct United States Military base now listed as NYC accessible ruins along the coast in Queens. ​ As an inquiry into motherhood, "Family Sounds" involved a site-responsive approach to the superimposition of an internal childhood landscape onto the defunct Ft. Tilden military base along with self-reflexive research referencing quantum nonlocality, interpretive movement, and the manipulation of physical material to align intention with action as evolved ritual. To start, I visited my childhood home in central Pennsylvania and collected audio samples like gunshots, piano, flute, and conversation. I also collected materials from an old family barn such as safety nets, camouflage burlap, industrial Velcro, and vinyl pieces. I used these materials to construct a giant robe and from the audio samples I melded a cacophonic multilayered soundscape as a way to create a tethered telepathic multigenerational connection. During the performance I blinded myself under the giant robe and bent my psyche into the constructed auditory and kinesthetic dimensions where I psychically postscribed childhood memories as a way to explore motherhood. One challenge of working this way is that documentation and integration of unlanguageable data uncovered along the way becomes difficult as perceptions expand beyond the framework of linear languages. ​ PHOTOS BY JAIME ROSENFELD JULY 8, 2017

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.

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... PSYCHIC SELF DEFENSE GIANT WOODEN STAKE FOR DESTROYING PSYCHIC VAMPIRES Inspired by Dion Fortune's Psychic Self-Defense: The Classic Instruction Manual for Protecting Yourself Against Paranormal Attack published in 1930, I carved an 11' wooden stake from a white pine tree removed from my property and designed a welded steel foundation to support and direct its potential in a specific way. There was a nearly dead forty-five foot tall white pine tree on my property that I needed to remove because it was next to a home with a newborn. I was overwhelmed by its potential for destruction as well as the terror at having to take responsibility. I feared it might smash a building or kill someone but I felt frozen to take action. Normally, I figure out a way to do things myself, but in this case I knew I had no ability to take down such a tree and I was having trouble finding a tree service who was able to schedule the job during the pandemic. I was also paralyzed by the thought of the expense. I wanted to run away, but knew I had to transform my fear and helplessness. I had the idea to approach the problem as an art project as a way to reconnect with my boldness and to remember the feeling of embodying initiative. Once I realized that I could apply methods from my art practice to this life circumstance, art became my teacher, and I began to hear the tree speaking to me saying "Look at me, I'm a giant wooden stake and I want to help you!" At the same time, I was rereading Dion Fortune's book Psychic Self-Defense: The Classic Instruction Manual for Protecting Yourself Against Paranormal Attack published in 1930 where she discusses the literal manifestation of vampiric energies and vampires themselves as people, circumstances, experiences, and entities that deplete us for their own gain. I had read the book as a young person and was now surprised to realize how her description of this system had maintained its relevance and how it paralleled the language of healthy boundaries as discussed in contemporary psychology. Vampiric energies accumulate through life experiences and interactions with other people and entities who intentionally or not connect their psyche to us. Unhealthy past relationships, traumas, and global events like the pandemic have the potential to develop longterm harmful effects on our beings and we need to develop tools to combat this dynamic. Thinking and working this way is one way art processes can help us. I designed, built, and activated the tree into a large healing tool sculpture that can neutralize the effects of psychic vampirism and other unhealthy energetic connections that impact our wellbeing. To start, I stripped the bark off of an eleven-foot length of the white pine and my son helped me with his chainsaw to carve one end into a sharp point. The base is a prism made of two welded steel equilateral triangle structures that elevate and position the point of the sculpture directly at heart level maximizing its power to blast away the psychic and etheric connections one inadvertently accumulates throughout life. The sculpture is a giant cleansing machine. It targets etheric and energetic fields and tethers that become attached to ones outer bodies over time. It's meant to cleanse the outer bodies by obliterating unhealthy energies and connections, prohibit vampiric energies from sinking their fangs into the many dimensions of our psychic, physical, mental and emotional spheres, and to destroy the parasitic relationship dynamic vampires establish and maintain with our physical host bodies against our will and awareness. The sculpture is interactive. People were invited to stand in front of it, connect with its design, and have their own healing experience. ​ ​ MAY 1 - 29, 2021 ART/LIFE INSTITUTE 185 ABEEL ST. KINGSTON, NY ​ ​ OPENING MAY 1st 6:PM - 9:PM MID-MONTH RECEPTION - MAY 15th 6:PM - 9:PM CLOSING EVENT MAY 29th - 6:PM - 6:PM ​ ​

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... SHAPE OF A FEELING Photographs of Piles by Nina Isabelle COLLECTION STARTED NOVEMBER 12, 2018

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... THE PAIN PROJECT MARCH 2015 The Pain Project revisits eight physical injuries and is meant as an exploration of where pain is held in the physical body and how it changes with time. Each piece was made by applying paint to paper using the affected body parts. 3rd Metacarpal of Left Hand , 44x36, tempera paint on paper Broken 3rd Metacarpal of Lett Hand: When I was in 3rd grade I broke the 3rd metacarpal on my left hand doing a back-handspring on the trampoline at The Nittany Gymnastics School in State College, PA. Initially I thought that I had just cracked my knuckle in a painful way but later that day when I was asked by my instructor to do a glide kip on the bars I noticed that there was a sharp pain in my hand. My instructor assumed that I was lying in order to get out of class. I felt conflicted by her accusation, so I tried to swing from the bars again but it was still painful. Was I imagining it? Maybe I just hated doing gymnastics? I began to question my perception of pain within my physical body, I couldn’t tell if I was hurt. That night I told my Mom that I thought I had hurt my hand. She said she would take me to have an x-ray in the morning, but my Dad told her it was not broken, there wasn’t enough swelling, to leave me alone and it would be fine. They fought about it but she took me anyway and it turned out to be broken. They wrapped it up with a plaster cast. Frontalis Bone , 44x36, tempera paint on paper Multiple Concussions: Due to skateboarding and snowboarding I have been knocked unconscious several times. Once I hung up and fell to my head on a mini-ramp and was knocked out for several seconds. When I opened my eyes a man who was there said “Don’t move, I’m going to get your Dad.” I didn’t move. When the man came back he said, “Your Dad says to get up, that you’ll be fine.” The first time I dropped in on a vert ramp everyone told me, “Make sure you lean forward!” I dove from the top of the 12 foot ramp to the bottom, landing head first. I felt dizzy and was giddy but thought it would be a good idea if I tried again. Everyone was yelling “just sit down, don’t get up!” I tried again. On the way home I felt nauseous, my friend had to drive, I threw up on the side of the road. The worst time was when I dropped in on an 7 foot quarter pipe that went onto an asphalt street course. My wheel ran into a piece of gravel and it caused my board to stop rolling, I fell right onto the front of my head. Right in my hairline, directly above my right eye, a large lump instantly grew straight out of my skull, like when cartoon characters get hit with a bat. I had a lump that was as tall as a spool of thread sticking straight out of my head, like a horn! I couldn’t stop laughing, time was distorted, I was delirious. The person I was with took me to the E.R. I had a concussion, they said to wake me up every two hours. The lump turned to dark colors, and then eventually drained into both my eye sockets. I had two black eyes, like a raccoon. I was in Art school at the time, my painting teacher took me aside and asked if I was experiencing domestic violence, he was convinced that my boyfriend was beating me, I couldn’t stop laughing. My skull is indented in that spot. To this day If I touch it with my finger my heart starts racing and my throat clenches shut and it becomes hard to breath. Right Hip , 44x36, tempera paint on paper Multiple contusions on right thigh, inferior lateral aspect of the greater trochanter of femur : At age 14 I was doing a balance beam trick called a Gainer Layout Step, where you sort of fling yourself up in the air and do a no-handed flip and land on one foot. I missed my landing foot and landed on the lateral aspect of my thigh resulting in a giant black and blue mark. Shortly after that I was required to have a physical for school, the nurses saw my bruises and asked if I “had a happy home life.” They sent me to the school counselor who asked me if I drank or used drugs or if I had been exposed to domestic violence. She didn’t believe my answer, that I had “fallen off a balance beam.” Many years later, I was doing a 50/50 grind around a bowl corner on my skateboard, and when I went to go back in my back trucks hung up on the coping, causing me to slam into the bottom of the 5 foot deep bowl with full force, directly onto my right hip. It swelled up instantly, looking like an enormous raspberry scone stuck to my thigh. Blood and yellow fluid began to push out of my pores and flow down my leg. I’d wake up with the bed sheets stuck to my thigh each night, eventually there was a scab the size of my entire hand. My thigh was swollen fat and wiggly like it was full of jello. I couldn’t put on pants and had to wear skirts for weeks, I had an unbelievably huge and disgusting scabby, black-and-blue thigh. To this day, over 20 years later, I still have a lump of scar tissue the size of a small lemon inside my lateral thigh. It is still surprisingly painful to touch. I call it my “perma-bruise.” Lateral Malleolus of Right Fibula , 44x36, tempera paint on paper Undiscovered Broken Lateral Malleolus of the Right Fibula : I had sprained my right ankle several times doing gymnastics, it usually took 3-4 week to feel completely better. The usual protocol involved sticking my foot in a bucket of ice water several times a day, continuing to try to walk on it so that I wouldn’t loose mobility, and wrapping it tightly with athletic tape so that I could get back to training as soon as possible. I had been through this injury several times. When I was 15 I took up skateboarding instead of gymnastics. One time I dropped in off of a ledge that went to a bank and my front right foot rolled under. I wound up landing on top of my crumpled foot with all of my weight from several feet in the air. It was so painful, I was frozen and unable to make a sound or move. Nobody in the crowded building recognized that I was injured. I slowly and quietly moved myself across the concrete floor toward the exit and crawled on one knee with my ankle in the air, very delicately and smoothly, down the hill to where the athletic trainers were. They looked at my ankle and said I would need to get an x-ray, then I was given a ride home. I called my Dad, who said “No, you don’t need an x-ray, it’s probably just a bad sprain, just ice it.” 4 weeks had gone by and I was still not able to put much weight on my foot. I kept trying to walk normally, and just wrapped it up tightly with athletic tape. It was over 2 months before I could walk without pain. My boss and other people implied that I was faking an injury for special attention, so I made a point to conceal my pain. When I was 36 I sprained my ankle again while bouldering. I had it x-rayed and they said, “It’s not broken now, but we can see where it has been broken previously in several places.” My ankle has never recovered from this, it is extremely sensitive and I can’t allow anything to touch it, the lightest tap makes me yelp. Dragging it across the paper for this project was excruciating, I almost cried. This injury is 18 years old and has not left my body yet. Occipital Bone , 44x36, tempera paint on paper Bad Neck Injury: I’m not sure what happened to my neck. I over-rotated a double back flip on the trampoline and was about to land on the back of my head. My friend dove toward me to stop my rotation before I landed but his fist wound up right in the back of my neck when I landed with my feet crumpling over the top of my body. My entire head and neck were tingling and making crackling sounds, it felt like fluid had been blasted up my nose. I crawled off the trampoline and took myself home. I took some Advil, put a bag of frozen peas on my neck and tried to sleep. I couldn't move for days, the phone had been ringing but I couldn't get to it. I finally crawled to the kitchen 2 days later to eat, but wound up on the floor in pain. I made an appointment with a chiropractor but he needed to see an x-ray. I didn't have insurance so I just waited for it to get better. I have a lump the size of a walnut at base of my occipital bone on my right side. It hasn’t gone away yet, sometimes I have sharp, shooting pains if I turn my head a certain way. Contusions on Lungs , 44x36, tempera paint on paper Contusions on Lungs, Cracked Tooth: When I was 16 I was snowboarding on an icy slope with my friend. Something happened and I wound up in the air face-first and landed on my chest and face. I knocked the wind out of myself and banged the front of my face and head onto the ice. I started laughing really hard, blood gurgled up from my throat and sprayed onto the snow, then I spat a tooth into my mitten, I couldn’t stop laughing. My friend asked if I was okay and I couldn’t stop laughing, I said that I was okay, but he took me to the hospital. They x-rayed my lungs because of the blood coming out of my throat, it had a contusion. The next day I went to the dentist and he made me a new tooth out of putty, I still have it. Lateral Deltoid 44x36, tempera paint on paper Separated Right Shoulder: When I was 16 I was skateboarding on a 5 foot mini ramp inside of a metal building near my home. My back trucks hung up on the coping and I fell to the flat bottom landing on my shoulder. I tried to leave the building but couldn't open the door because I needed to hold my right arm onto my body with my left arm. I tried for a while to open the door with my foot, or to unlatch and slide the barn doors open with my legs. Eventually I managed to open the door and walked home. My parents were upset with me for being late for dinner. My Dad gave me a sling for my arm, and we tied my arm to my torso for several days until it tightened back onto my body. Sacrum / Coccyx , 44x36, tempera paint on paper Possible broken or subluxed coccyx or sacrum: My skateboard slid out from under me and I landed on my tail bone on a metal pipe. I was able to get home and go to bed. In the morning I was in so much pain, I couldn't stand upright. I walked slowly, bent over all the way, to the bathroom, then back to my bed. My parents didn’t know I was hurt. They kept yelling for me to “Make sure you don’t miss dinner at camp, we don’t have any food at the house!” I couldn’t get out of bed, I was so hungry. I never saw a doctor.

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.

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... ​ The Ear, Brooklyn, NY August 23rd 2019 VOICES & CHOICES Referencing the ways misperceptions of fear, safety, danger, pain and the body create difficulty when voicing choices, this performance was an exercise in decision making, speaking up, and the difficulty that surrounds these things. I welded a steel cage for my body that was also a percussion instrument to be played on and off the body. I constructed and wore a garment of half visually reflexive material and half acoustically absorbent foam. The performance audio included partially told stories, inaudible language, and uncomfortable loud sounds. Curated by Polina Riabova and organized by Oya Damla at The Ear in Brooklyn, NY. Photos by Kira DeCoudres

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... SEEMRIPPER A conceptual video-performance demonstrating artist as self replicator The Elizabeth Foundation As Far As The Heart Can See Curated by Nicolás Dumit Estévez October 2018 Seemripper was produced using The Self-Limiting Conceptual Video Production Process; a system that interlaces action, duration, direction, speed, sound, color, sequence, subject and object to form a linear audio and visual arrangement. The Self-Limiting Conceptual Video Production Process was designed as a system to sidestep consciousness in order to access lateral dimensions of awareness and is a continuation of The Video Manifestation System released by Human Trash Dump in January 2018. The video-performance frames the artist as a self replicator caught in a recursive loop of infinite destruction and renewal generated by the physical and quantum relationships between fire, water, air, metal and earth. This project was initiated by Linda Mary Montano as part of 'In Honor Of,' a performance series Curated by Nicolás Dumit Estévez Raful with curatorial fellow JP - Anne Giera at The Elizabeth Foundation in New York City on October 20, 2018. Performers were nominated by artists featured in 'As Far As The Heart Can See' (Nao Bustamante, Billy X. Curmano, Irina Danilova & Project 59, Beatrice Glow, Ivan Monforte, Linda Mary Montano, Praxis (Delia & Brainard Carey), Beth Stephens & Annie Sprinkle, and Martha Wilson & Franklin Furnace Archive) and include former mentees, current students, assistants and younger artists whose work they admire: Elena Bajo Bajo, Sindy Butz, Larissa Gilbert, Nina Isabelle and Xinan (Helen) Ran.

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?

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... THE HYMN WARP TRANSDUCER The Hymn Warp Transducer was performed as part of Paul McMahon's Woodstock Invitational for The Bedstock / 👁❤️🦄 Exhibition. ​ 9 Herkimer Place in Brooklyn, NY APRIL 15, 2018 ​ Concept & Performance: Nina Isabelle / Slide Guitar: Ever Peacock / Vocals: Abacus Haste / Rhythm: Simon Ample / Documentation: Amelia Iaia. ​ Using mouths, machines and tools to convert internal physical sound qualities into noisy output and a visual heap, Appalachian Abacus Haste melds converted hymns with Ever Peacock’s spooky loop-slide guitar sounds and Simon Ampel's rhythms while Nina Isabelle frames the operation in a warped slipshod suffocation structure. ​ Hymn Warp Transducer Concept & Performance: Nina Isabelle / Slide Guitar: Ever Peacock / Vocals: Abacus Haste / Rhythm: Simon Ample / 2D Art: Paul McMahon / Documentation: Amelia Iaia Hymn Warp Transducer, Nina Isabelle Concept & Performance: Nina Isabelle / Slide Guitar: Ever Peacock / Vocals: Abacus Haste / Rhythm: Simon Ample / 2D Art: Paul McMahon / Documentation: Amelia Iaia Hymn Warp Transducer Concept & Performance: Nina Isabelle / Slide Guitar: Ever Peacock / Vocals: Abacus Haste / Rhythm: Simon Ample / 2D Art: Paul McMahon / Documentation: Amelia Iaia Hymn Warp Transducer, Nina Isabelle Concept & Performance: Nina Isabelle / Slide Guitar: Ever Peacock / Vocals: Abacus Haste / Rhythm: Simon Ample / 2D Art: Paul McMahon / Documentation: Amelia Iaia Hymn Warp Transducer Concept & Performance: Nina Isabelle / Slide Guitar: Ever Peacock / Vocals: Abacus Haste / Rhythm: Simon Ample / 2D Art: Paul McMahon / Documentation: Amelia Iaia Hymn Warp Transducer Concept & Performance: Nina Isabelle / Slide Guitar: Ever Peacock / Vocals: Abacus Haste / Rhythm: Simon Ample / 2D Art: Paul McMahon / Documentation: Amelia Iaia Hymn Warp Transducer Concept & Performance: Nina Isabelle / Slide Guitar: Ever Peacock / Vocals: Abacus Haste / Rhythm: Simon Ample / 2D Art: Paul McMahon / Documentation: Amelia Iaia Hymn Warp Transducer Concept & Performance: Nina Isabelle / Slide Guitar: Ever Peacock / Vocals: Abacus Haste / Rhythm: Simon Ample / 2D Art: Paul McMahon / Documentation: Amelia Iaia Hymn Warp Transducer, Nina Isabelle Concept & Performance: Nina Isabelle / Slide Guitar: Ever Peacock / Vocals: Abacus Haste / Rhythm: Simon Ample / 2D Art: Paul McMahon / Documentation: Amelia Iaia Show More

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

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... JSP PLUMBING COMMISSION NOVEMBER 2016 ​ ​ These are 24x36 digital photo collage prints done for the office space of JSP Plumbing in Kingston, NY. I photographed tools and material from the JSP Plumbing shop and warehouse as well as the surrounding industrial landscape to form the final imagery. JSP 6 JSP 9 JSP11 JSP 2 JSP 8 JSP10 JSP 4 JSP 7 JSP 3