June Memory Space (one channel version)

Описание: 6:40 Left Screen Loops
9:29 Right Screen Loops
13:44 Center Screen Loops

Project 3 Proposal: “June”
Form, Length, Site, and What I’ll Need
This project lives as a multi-channel video installation in one of the gallery spaces on campus, ideally Q114 or Q116. It’ll be set up as four synced projections, creating a kind of timeline you walk through. Each screen holds a slice of the same space, a space that’s mine, that I return to for comfort, and each one shifts with the light, air, and feel of June 2025.

Tech-wise, I’ll need three projectors, a sound setup for spatial audio, and the ability to fully blackout the room to control ambient light and give the piece full presence.

What I’m Exploring
This work is about space and time, but not just in the measurable sense. It's about how those things feel. About how comfort shifts when the light does. About how the same place can hold joy, unease, memory, depending on the day, the hour, the air. Spike Lee’s Do the Right Thing sits heavy on this, how he let a single block in Brooklyn sweat, pulse, and unravel with the temperature. I'm not trying to recreate that, but I am trying to reach for a similar depth, to show a space through how it feels, not just how it looks.
Miwon Kwon’s thinking in One Place After Another guides this too, the idea that place is layered: physical, yes, but also a psychological construction made of identity, memory, time. Erika Suderburg’s Space, Site, Intervention hits this point as well, the viewer’s movement makes the space active, charged. This isn’t a passive watch, it’s something you move through, and in doing so, you complete it.
What’s Inspiring the Work
There are a few pieces that have informed this:
Doug Aitken’s sleepwalkers (2007) for how he fractures a narrative across multiple screens and buildings.
Shirin Neshat’s Turbulent (1998) for the emotional dissonance created by split screens that hold tension and contradiction.
Bruce Nauman’s Stamping in the Studio (1968) for the use of repetition, presence, and the body inside a static space.
Peter Campus’s Double Vision (1971) for destabilizing what we think we know about how we see and move in space.


On a tonal and temporal level, I’m thinking through Tarkovsky’s concept of “sculpting in time.” Each screen functions like a carved block, duration is the medium, not just the measurement.
How I’ll Show It
For critique, I’ll bring in a scaled-down version, either a digital mockup of the gallery layout or a setup with four small panels/screens. Each “week” of June will be cut down to about a minute, one per screen, to hold the emotional rhythm. I’ll include an artist statement that explains the project’s relationship to affective geography, how movement through space is movement through feeling, and how the viewer’s body is the last, necessary piece of the work.