Day 1 > Nayda Collazo-Llorens

single-channel HD video (no audio) 
duration: 6:02 min 
This video incorporates text from a 1952 U.S. government report of an unidentified flying object in Mayagüez, Puerto Rico. The work takes advantage of the inaccuracies of the optical character reader (OCR) used to convert a scanned image of the aged typewritten document into text. 

Artist statement: 

I am engaged in an interdisciplinary practice through which I examine the way in which we perceive and process information, often dealing with concepts of dislocation, mapping, and memory. My projects incorporate diverse strategies and approaches, including mapping and the sampling of found and collected materials such as text, maps, and data. My installation works take over the exhibition space as one to be navigated through perceptual shifts. My non-representational works are often filled with visual noise, where marks seem to amass, connect, and collide. I also explore displacement and dislocation through text-based projects that explore formal and phonetic twists, non-linear narratives, code-switching, and information overload. Just as in my installations and two-dimensional works, these text-based projects invite us to reflect on the complexities of the mind, the fragility of memory, and the fragmented manner in which we perceive the world around us. I find this to be of particular significance as we try to cope with a convoluted world in an age that is as much about data overload and hyperconnectivity as it is about distancing and dissociation. 


Nayda Collazo-Llorens is a Puerto Rican artist engaged in an interdisciplinary practice that incorporates multiple mediums, including animation and video, drawing, printmedia, and installation works. She earned an MFA from New York University, a BFA from Massachusetts College of Art and Design, and is a former Pollock-Krasner Foundation Grant recipient. Her work has been exhibited at El Museo del Barrio in New York City; The Mattress Factory in Pittsburgh; Museum of Latin American Art in Long Beach, California; Frost Art Museum in Miami, Florida; Museo de Arte Contemporáneo in San Juan, Puerto Rico; Museo Universitario del Chopo in Mexico City; and The Dowse Art Museum, Lower Hutt, New Zealand, among others. Her work is featured in Relational Undercurrents: Contemporary Art of the Caribbean Archipelago, published by Duke University Press; A to Z of Caribbean Art, published by Robert & Christopher in Trinidad & Tobago; and The Dark Would: Language Art Anthology, published by Apple Pie in the UK. She currently lives and works in Kalamazoo, Michigan.

Day 2 > Rose Stark

But What, 2021

Rose Stark is an experimental animation artist who has screened works at festivals worldwide.Rose got her undergraduate degree in film and traditional animation from the Pratt Institute. Her undergraduate thesis film “LGFUAD” was awardedBest Undergraduate Animation at the prestigious Ottawa Animation Festival in 2010. She has worked on both commercial and documentary animation projects in addition to her independent short films and sculpture. Rose received her Master of Fine Arts from the Ohio State University in 2018 and continues to make work in Portland, Oregon where she lives in a very old house with her family and 2 hounds.

Day 3 > Lydia Cornett


Directed by Lydia Cornett

Running Time: 7 minutes and 6 seconds

Year: 2021

Until 2020, Ohio had voted for the presidential winner in every election since 1964.Franklin County, a liberal stronghold and most populated county in the state, faced its share of challenges in November 2020: errors in absentee ballots, record in-person early voting turnout, and a polarizing political climate with rising Coronavirus numbers. PARTY LINE documents the experience of those who waited in line to ensure their votes were counted, revealing a public event that encompasses everything from last-minute political campaigning to a dance party in a hailstorm. As individuals from all walks of life wait in line, contradicting ideologies butt up against each other and community finds various forms.

Director’s Statement:

I moved to Columbus, Ohio in the fall of 2020. Covid-19 cases were soaring nationally, the West Coast was on fire, and the political climate was anxiety-inducing, particularly in my new home and battleground state. While I waited in line to vote early in October, I was struck by the bizarreness of the event:in the midst of a global pandemic, folks from all walks of life stood in a parking lot for hours and hours to cast their ballots, well before November 3rd. I later learned that due to state voting laws, there was only one early voting location in my entire county. The simultaneous absurdity and moving commitment I found in the early voting line prompted me to observe those who were waiting with me. Instead of a collective exasperation or negativity, I witnessed the scraps of representative democracy at work:individuals soliciting votes, campaigning face-to-face, and persuading those in line to vote for their version of a better world. The hundreds of people in line, accompanied by the storefronts of various businesses, formed a unique public event at a time when common gathering felt unsafe and forbidden. I also recognized so much of the American cultural moment distilled: the fear and mistrust of the other in an extremely fraught election, the advocacy of justice movements and their appropriation by other groups, and the pandemic’s simultaneous alienation and unification of strangers. My hope is that through glimpses of interaction, contradiction, and community, Party Line finds meaning in a strange and specific moment in American history.



Lydia Cornett is a filmmaker from Baltimore, Maryland based in Columbus, OH andBrooklyn, NY. As a former musician turned filmmaker, she makes work that unites therestraint of observational storytelling with the physicality and connection she associateswith music-making. She was the Valentine & Clark Emerging Artist Fellow at the JacobBurns Film Center, a CoLab Fellow at UnionDocs, and a two-time recipient of the NYCWomen’s Fund for Media, Music and Theatre. In 2019, her film Narmin’s Birthday won theFestival Jury Runner-Up Award at the Nitehawk Shorts Festival and premiered online withNoBudge. Her subsequent film Yves & Variation premiered at BAMcinemaFest and wenton to screen at the Hamptons International Film Festival, DOC NYC, Big Sky DocumentaryFestival, and Aspen ShortsFest. It was acquired for The New Yorker’s documentaryseries and selected as a Vimeo Staff Pick. Her latest film Bug Farm, supported by the If/Then Distribution Initiative, the NYC Women’s Fund, and the Jacob Burns Film Center,has screened virtually at the Nashville Film Festival, New Orleans Film Festival, AspenShortsFest, and Ashland Independent Film Festival.


Adam Meeks is a Brooklyn-based filmmaker and graduate of NYU’s Tisch School of theArts. His last short film Union County premiered in competition at the 70th Berlinale, and continued on to screen at the Champs-Élysées Film Festival, Palm Springs InternationalShortFest, Maryland Film Festival, and numerous others. His work frequently examines rural and peripheral American communities, and aims to exist within the intersection of documentary and narrative processes. He is a 2019 Jacob Burns Emerging Artist Fellow and a Yaddo Residency recipient. He currently works as a video producer at Jazz at LincolnCenter.

Day 4 > Muriel Sago

The Origin of Crying


Born in La Plata, Argentina, she developed her artistic training at the National University of the Arts where she did a Bachelor’s Degree in Acting and where she is currently finishing a Bachelor’s Degree in Stage Direction. In 2021 she won the Hack MAFIZ international contest and was invited by the Malaga Film Festival to participate in its 2022 edition as one of the new digital content creators. She was chosen to represent Argentina in the “Young Latin American and Caribbean Filmmakers” film week organized by the Community of Latin American and Caribbean States (CELAC) with her project “My self portrait”, which was also selected by the 1st ARTSCLOUD Digital Art Fair Artists Award as one of the 100 most innovative digital art works of 2021 and has been exhibited at the Art in Metaverse exhibition in South Korea.

She is a screenwriter and director of the short films The origin of crying, Imaginary Chronicles, Acidic Earth and Drown the name, for which she won a 2021 Creation Grant from the National Fund for the Arts. She is also an actress in the films To emerge, Maré, Extranjero, Intervalo and El hombre que no.


Nacida en La Plata, Argentina, desarrolló su formación artística en la Universidad Nacional de las Artes donde hizo la Licenciatura en Actuación y donde actualmente está terminando la Licenciatura en Dirección Escénica. En 2021 ganó el concurso internacional Hack MAFIZ y fue invitada por el Festival de Cine de Málaga a participar en su edición de 2022 como una de las nuevas creadoras de contenido digital. Fue elegida para representar a Argentina en la semana de cine “Jóvenes Realizadores y Realizadoras de Latinoamérica y el Caribe” organizado por la Comunidad de Estados Latinoamericanos y del Caribe (CELAC) con su proyecto Autorretrato que también fue seleccionado por el 1er ARTSCLOUD Digital Art Fair Artists Award como uno de los 100 trabajos de arte digital más innovadores del 2021 y ha sido exhibido en la exposición Art in Metaverse de Corea del Sur.

Es guionista y directora de los cortometrajes El origen del llanto, Crónicas imaginarias, Autorretrato, Tierra Ácida y Ahogar el nombre, por el que ganó una Beca Creación 2021 del Fondo Nacional de las Artes. También es actriz en las películas Emerge, Maré, Extranjero, Intervalo y El hombre que no.


Seduced from childhood by extraordinary narratives, Muriel Sago, part of her activity in the field of performing arts, where she works as an actress, director and playwright, to address the fantasy genre in its cinematographic dimension. She is a graduate of the Bachelor of Acting at National University of Arts and a student of the Bachelor of Scenic Direction. She investigates the construction of the fantastic narrative articulating elements present in the theatrical field and audiovisual discourse.


Seducida desde la infancia por las narrativas extraordinarias, Muriel Sago parte de su actividad en el campo de las artes escénicas para abordar el género fantástico en su dimensión cinematográfica mancomunando en su investigación elementos presentes en el campo teatral y el discurso audiovisual.

Day 5 > Illya Mousavijad 


The Precious Pain  

I made this piece influenced by lyrics and a poem sung by the Kurd-Iranian Singer Shahram Nazeri. My motivations were twofold. One is the Sufi logic that illustrates a complicated and unresolvable dynamic. The paradox. The poet states that they are hurt by a friend. However, the friend has nonetheless remained a friend, and more importantly, the pain is the manifestation of the relationship between the friend and the poet. The second line emphasizes that the poet would absolutely refuse any cure. Which points to the preciousness of the nature of that pain. The second reason that drew me to use this poem is the ambiguity of its identity. The face, position, politics, and identity of the “friend” is unrenderable. Although I understand that this characteristic is applicable to most Sufi and mystical poetry. But in the case of this poem, the identity of the author happens to be disputable as well. Hence the entire tension is unfolding in a situation that is in-between ambiguous identities. Moreover, I am drawing this poem outside of its Sufi context. I am repurposing and appropriating it to create a parallel between the paradoxes in the poem and the absurd Iran/US relationships. I think of this “precious pain” that exists because of the various atrocities carried back and forth between both states that were also historically once “friends.” Unlike in the poem, pain that is produced as a result of US/Iran tensions, is not motivated or aimed at finding love or emotional intelligence. Rather for both states, maintaining pain is strategically precious to memorialize and monumentalize and to further their imperial agendas. Eventually, I think this poem also leaves space to rethink the nature and notion of pain, its memory, value; and ultimately ask what is to be done. 

Illya Mousavijad is an emerging, multidisciplinary, conceptual artist born and raised in Isfahan, Iran. He received his BFA at the Pennsylvania Academy of the Fine Arts, and his MFA from Weitzman School of Design at the University of Pennsylvania. His art 
practice investigates the limits and extents of exile, border and identity politics, Middle Eastern history, exile literature, US and Iran relations. He works across varied media including installation, painting, video, and computer animation. He has collaborated with international artists of various disciplines and exhibited in Iran and the US. He is currently the Visiting Assistant Professor in Art and Technology at The Ohio State University. 

Day 6 > Lynn Kim


A running body powers the cycle between states of being.  
A tribute to Korean musical rituals and the wonder of locomotion, both spiritual and physical. 

Produced, directed, sound designed and animated by Lynn Kim 
2021, 05:25 color, sound, video 

I am a Korean American filmmaker and educator who uses live-action and animation techniques to create short films that explore the social conditions and realities of the human body. My films serve as inquiries about how people perceive and understand bodies (intellectually and spiritually) and are based on my personal and lived experiences of gender, race, health, and sexuality. My work exists as hybrid, chimeric fusions of animation and video, and function as ongoing searches for alchemic transformation of my own body through frame-by-frame film processes. 

With a vested interest in utilizing film as a form of social critique and reflection, I pull from the fields of biology, poetry, anthropology, and history to draw connections and metaphorical relationships that question how we navigate the world and perceive its boundaries. This inquiry encompasses myriad bodies, organic and inorganic, from animal creatures to geological land masses. Past examples of this research approach include a film that examined shared sites of queerness between myself and the spotted hyena, and a video essay about the color yellow as it pertained to my racial identity and a species of yellow corvina fish. 

Though my practice is largely filmic, my creative process is interdisciplinary and includes performance and writing methodologies. I have produced essays, poetry, and choreographed movements in my search to create cinematic experiences that are intimate and sensorial. 

I have had the fortune of exhibiting and competing in international festivals and gallery shows including: The Ottawa International Animation Festival, the Baryshnikov Arts Center, CURRENTS New Media, The Margulies Collection, and Rooftop Films. 

At heart, I am a self-professed lover of animation and an artist who creates films to offer points of connections and to share experiences. I see my art and teaching practice as opportunities for nearness and understanding between bodies; like the flickers of projected light in a dark room of friends and strangers, and an invitation to step close and share time + space, if only for a little while. 

Day 7 > Damian Anache

Through My Fault

Rhythm, lights and shadows; micro-details, grains and noises; overlapped layers and textures in a simulated space.

“Por Mi Culpa” (Spanish for “mea culpa”, a Latin phrase translated as “through my fault”) rest beneath an oscillation between abstract images and the documentation of a body’s interaction with the audiovisual technology that produces and records the process of manufacture itself. The image is composed only of video footage and lighting effects generated by computer controlled lamps. The soundtrack is a live performance with no further editing.

This is a black and white digital HD audiovisual piece (06:13, 1920 x 1080, 30fps), created exclusively with free licensed software: Kdenlive (Jason Wood, 2002) for images and Pure Data (Miller Puckette, 1996) for music. The aesthetics of the video was inspired by classic experimental cinema of the early 20th century by artists such as Man Ray ( Le retour à la raison, 1923) and Fernand Léger (Ballet mécanique, 1924), and also influenced by modern austrian avant-garde filmmaker Peter Tscherkassky (Motion Picture, 1984; Manufraktur, 1985). At the same time the soundtrack is related to some Tscherkassky pieces but mainly motivated by granular works by Iannis Xenakis. The video shows the performance of the musical soundtrack, altered by video montage/editing tools and overlaid blinding light flashes. For this reason the temporal structure or “the narrative” of the video is given by the evolution of the prior musical score. The main goal of the creation process was to explore the intersection between predefined automated processes and embodied real-time control. So an ad hoc software was developed to control a real time granular synthesis engine and some synchronous light devices via DMX. Both features (sound and light) are commanded by a pressure-sensitive MIDI grid pad. At the same time, in order to enrich the liveness of this dialogue (automatic computer vs performer’s real-time) the music’s non-traditional score uses freehand drawn graphics based on John Cage’s ideas of indeterminacy (see Cage, J. 1961, Indeterminacy).

Day 8 > Amber Elison

Seagulls, 2020

Amber Elison works across disciplines to mine the felt experience between presence and absence, legible and illegible, said and unsaid. Through video, performance, photography, and text, she questions the relationship of personal narrative, familial and social histories, fiction, and ancestral folklore. Often collaborating with dance and sound artists she seeks multi-sensory methods of experience, creating experimental documentaries and immersive performative spaces.

A recent graduate of the MFA program in art at The Ohio State University, Amber was born and raised in Houston, Texas. She now lives on the unceded lands of the Shawnee, Potawatomi, Delaware, Miami, Peoria, Seneca, Wyandotte, Ojibwe and Cherokee people. Also known as Columbus, Ohio.

Day 9 > Tracy Szatan


An Endless Glass Space is a meditation on the materiality of glass in physical and digital environments. The piece reflects on glass’s use in representational systems and the geologic processes that underlie the production of glass. Built in Unity gaming software and combining 3-D scanning with filmic techniques, An Endless Glass Space engages multiple photographic forms while exploring the material that many photographic processes might be said to rely most upon. 


Tracy Abbott Szatan is a lens-based artist working across video, photography, glass, and installation. Her current research considers biological and technological mechanisms of perception and the relationship of perceptual technologies to geologic materials as a means to engage with and dwell in expansive notions of time. Her work has been exhibited internationally, including at The Center for Performance Research, Plaxall Gallery and Trestle Art Space (NY); Highways Performance Space and Raid Projects, (LA); Agora Collective (Berlin); and Spier Light Art Festival (Cape Town). She received her B.A. magna cum laude in Modern Culture & Media from Brown University and is currently a graduate candidate and teaching associate at The Ohio State University where she is also a co-curator of Cineseries, a graduate-led film screening series at the Wexner Center for the Arts. 

Day 10 > Kellie Bornhoft

Sun Breathing: 

On the infamous day the Bay Area turned tangerine I held the camera against my chest and directed it toward the sun. While the glowing air was moderate, I attempted to breath deeply without coughing for about 20 minutes. This video utilizes surround sound to compress the moment in a spatial arrangement. 


Kellie Bornhoft’s practice seeks tangible and poetic narratives needed in an ever-warming climate. Bornhoft utilizes sculpture, installation and video to delve into the whelms and quotidian experiences of our precarious times. Scientific data and news headlines do plenty to evince the state of our warming planet, but the abject realities of such facts are hard to possess. Through geological and more-than-human lenses, Bornhoft sifts through shallow dichotomies (such as natural/unnatural, here/there, or animate/inanimate.) Bornhoft is currently working in the Bay Area of California. She holds a MFA in Sculpture + Expanded Media from Ohio State University and a BFA from Watkins College of Art and Design. Bornhoft’s work has exhibited internationally in museums, galleries and film festivals such as the Contemporary Art Museum in Raleigh, North Carolina, Kulturanker in Magdeburg, Germany, and the Athens International Film and Video Festival. Bornhoft’s work has been reviewed in many publications including Frieze Magazine, Burnaway, INDYweek and ArtsATL. 

Day 11 > Christina Goestl


A body in motion: Repetitive movement opens up a space in which subtle changes become perceptible, created by the interactions of videographic and acoustic elements.

Director Biography – Christina Goestl

Christina Goestl is an artist. She works in the fields of audiovisual live performance and digital video, utilising series, sequences, modulations and loops, superpositions, cut-ups and electronic impulses. Central aspects of her artistic work are rhythm, dynamics, movement and temporality, communicative interfaces and semiotic systems. Goestl has accumulated an extensive dossier of projects at the intersections of art/tech/science, many of them linked to a comprehensive reflection of sexualities and gender. On the personal side, she is a genderfuck, living in the EU, and holding a master of art degree. Pronouns: as you wish.

Day 12 > Genadzi Buto

The Primitives

The complex life of simple figures

Genadzi Buto (b.1983) is an artist, director and animator based in St. Petersburg, Russia. Originally from Belarus where he graduated from the Academy of Arts as a designer. He worked in motion design and vfx for advertising, music videos and cinema. In 2011 moved to St. Petersburg, Russia where worked first as an classic animator for full-length animated films and then as a storyboard artist and director on full-length animated films and animated series for different major animation studios. At the same time he keeps making independent experimental short films, animated short films, animation music videos and other. His works are participants and winners of multiple international film festivals.

Day 13 > Yvette Granata

The Endless 

The Endless is a speculative sensory enthnography that roams through a visual thought pattern across both humans and artificial intelligence. It excavates the visual artifacts of interpolation – the act of neural nets filling in missing visual information with environmental data. Produced from a series of experiments with AI neural networks and gender recognition bias from 2018-2022, the Endless is a recursive loop between humans interpreting AI and vice versa. The result is a digital sensory journey, roaming through an alien culture in a phantasmagoric landscape. 

Yvette Granata is media artist and scholar. She works across multiple media to create immersive installations, interactive environments, VR films, video art, and hypothetical technological systems. She writes about media theory, philosophy, and digital media culture. Her work has been exhibited at the Harvard Carpenter Center for the Arts, The Eye Film Institute in Amsterdam, The Kunsthalle of Media and Light Art in Detroit, Papy Gyro Nights in Norway and Hong Kong, Hallwalls Contemporary Arts Center, and Squeaky Wheel Media Arts Center in Buffalo, among others. She has published in Ctrl-Z: New Media Philosophy, Trace Journal, NECSUS: European Journal of Media Studies, International Journal of Cultural Studies and AI & Society. Her film design work has appeared on screens at the Sundance film festival, Tribeca film festival, Rotterdam, Berlinale, Rome International Film Fest, SXSW, and CPH:PIX. She also produced the hybrid documentary, City World (2012) which premiered internationally at CPH:DOX and won best documentary at Cinema on the Edge in LA. 

She holds a Phd in Media Study from SUNY Buffalo, a Masters from the University of Amsterdam, and a BA from University of Michigan. 

Day 14 > Nate King

I’m Sorry Mamma, I’m a Cowboy 

“I’m sorry Mamma, I’m A Cowboy” is a compilation of animations created in response to my return to Appalachia as an out queer individual. The work takes its name from the country song, “Mammas Don’t Let Your Babies Grow Up To Be Cowboys”, and the act of coming out to my mother as gay. Visuals include iconography from cowboy culture and imagery that is associated with masculine heteronormativity, but, through the process of animating myself into the work, my presence queers the narrative, juxtaposing ideas of the American cowboy with queer existence. Metronormativity promotes the idea that queerness and the urban are inseparable, thus invalidating the ruralized queer and placing queerness and rurality at odds. By animating queerness in a rural space, the act of existence is an act of assertion. The work questions notions of masculinity, authenticity, and fantasy. 

Nate King is an interdisciplinary artist with a heavy focus on animation using hand drawing, photography, painting, and digital manipulation to create time based mixed media compositions. His work explores ideas of identity, particularly in relation to themes of urban and rural queerness and digital connectivity. King’s work has been exhibited in national and international spaces including the Greenville Museum of Art, Greenville, NC, (2022) Deiglan Gilfélagið, Akureyri, Iceland, (2021), ACRE Artist Residency (2021), and Virginia Museum of Contemporary Art, Virginia Beach, VA (2020). He holds an MFA in Digital Arts and Animation from Pratt Institute in Brooklyn, New York and a BA in Cinema from Virginia Commonwealth University. He currently teaches animation as an assistant professor at Virginia Tech in the School of Visual Arts.

Day 15 > Martin Gerigk

What is the human experience of war, narcissism and ecological destruction? Demi-Gods addresses these three dark aspects of humanity in the form of a musical and visual essay. It shows our worship of these dark forces, which have now become normalized and fetishized. A furtive look from us mortals at the mechanics of the dark demi-gods of our time; turned into a surreal sequence of sonic and visual transformations.

Martin Gerigk (*1972) is a composer of contemporary music. His repertoire includes compositions for orchestra and chamber music, as well as several solo concertos. His compositions are performed nationally and internationally including in Korea, Japan, USA, England, Finland, Austria and Switzerland. In this context he works together with renowned international soloists and ensembles.

In addition to his compositional work he is known for his remarkable audiovisual art and experimental films which focus on inherent synesthetic connections of sound and visual perceptions. Besides creating interwoven aural and visual landscapes of music, nature sounds and video sequences one important aspect of his art is the illustration of the hidden poetry of nature phenomena and sciences.

His experimental films won several international prizes and were screened at noted festivals like Asolo Film Festival, International Digital Arts Festival Videoformes, Girona Film Festival, Salento International Film Festival, Columbus International Film & Animation Festival, USA Film Festival, New Jersey Film Festival, Sidney International Film Festival, Fargo Film Festival, Sherman Oaks Film Festival, Canberra Short Film Festival, Film and Video Poetry Symposium Los Angeles, Syracuse Film Festival or ZEBRA Poetry Film Festival.

Day 16 > Lina Machida

The Ant Tower 

Tomorrow, they’ll finish building the most beautiful tower on this planet. I’ve never seen it, but I bet it’s beautiful. I couldn’t wait to see the new tower, so that night, I snuck out. 

Department of Animation, Graduate School of Film and New Media, Tokyo University of the Arts 

Day 17 > Calista Lyon

Localized Gestures, 2019

Video, 7:21 minutes, no sound

Sharing a local ethic, Localized Gestures explores how we use our hands as a form of relation, affection, and solidarity.

The wave could be interpreted as reaching towards someone, a gesture shared between bodies where we build connections by reaching beyond ourselves. Having grown up in a regional community, forms of address—the greeting—are common practices in local communities. Using a critical reimagining of the enmeshed histories of photography and ethnography, this work shares an anonymous typology of the people of Green River, Utah. For those of us living outside this community, how might we learn and build from these gestures? How do we grow and extend our roots beyond the idea of the individual into a larger social world?

A wave has been offered to you by a veteran melon farmer, a council worker about to celebrate thirty years of service, a woman who missed the fireflies of Missouri, a senior citizen sporting a hat that read “MAKE AMERICA GREAT AGAIN”, a girl in those awkward years of becoming a woman, a pheasant farmer readying for a delivery of twelve thousand chicks, the local mayor, a mechanic, a Vietnam vet poisoned by agent orange, an artist, a back-country mule aficionado, a man who wore a high-visibility vest in solidarity with the French protestors, the high school principal followed by her graduating seniors, a woman who makes sandwiches, a nurse, a couple who recently started a snow-cone business, a man embodying a deep-seeded anger, a gardener, and upon meeting her a generous girl, among others.

Localized Gestures was screened at the annual Green River City Picnic and projected around the town. This work was made possible through the generosity of Epicenter and the larger Green River community.


Calista Lyon is an Australian artist and Visiting Assistant Professor of Studio Art at Kenyon College. Working in photography’s expanded field she uses research and image-based approaches to create installations, performances and community engaged works that explore the dynamics of memory and resistance in the wake of ecological and social collapse. Lyon’s work has been shown at the Centre for Contemporary Photography, Australia; Luckman Gallery, California; Barry Art Museum, Virginia; Sydney Museum, Australia; Contemporary Arts Center, Cincinnati; Murray Art Museum Albury, Australia and Automat Collective, Pennsylvania, among others. She lives in Columbus, Ohio—the ancestral and contemporary territory of the Shawnee, Potawatomi, Delaware, Miami, Peoria, Seneca, Wyandotte, Ojibwe and Cherokee peoples.