“Rubble Without a Cause” Is the latest installation done by the You’re On TV Collective at SOMOS Festival Septmber 24 2017 in Downtown Albuquerque. The installation is comprised of repurposed analog televisions painted with a pattern that mimics the Louie Vutton logo. These televisions are arranged amongst a pile of brightly colored rubble and garbage. The televisions are modified in three ways. Some are fitted with a broken glass mirror, some have static screens, and some are wired to mini surveillance cameras that pick up the surrounding environment. The final work of art is complete when an audience is present to interact with it, and actually see themselves on TV. This interaction mimics aspects of mass surveillance, and alludes to the consumerist attitudes promoted by pop culture.
Other components include smaller televisions (heads) attached to painted mannequin torsos, projected video montages of environmental degradation, and a vintage Nintendo complete with Super Mario for the audience to play while experiencing the art.
The multitude of possible interactions with the work, allows each individual audience member to have their own experience, whether that be playful or more intellectual.
This installation was wrapped around a traffic light pole during the event adding another interactive element with the audience. We decided to present the project in the round as an outgrowth of jumbled junk and media stemming from human entertainment. Apropoe for a large music festival crowd.
Rubble Without a Cause II- A You're On TV Production.
Video from the night of the festival showing the interactive components in action
Final Mashup You're on TV
Video projection component. This video plays on two of televisions, and can be adapted to a projector. Videography done By Evan White
Footprints In Dreams 2016.
Downtown Contemporary Gallery 2016
Footprints in dreams offers a multimedia fine art and entertainment experience focused on varying cultural attitudes in regards to the environment, both natural and digital, that inform social beliefs and infrastructure. The artwork presents perspectives on mass media, surveillance, and the environmental crisis, and explores the contemporary choices that influence social systems, both organic and contrived.
This installation was part of a collaborative exhibition between Kyle Erickson and Zane White showcasing new work. The interior space was very tricky to overcome, but it made it all worth it to see the work directly confronting the audience once they came upstairs. This work incorporated time-lapse video, surveillance cameras, and a super Mario system for the audience to play while they are bombarded with macabre like post-apocalyptic mannequins with televisions for heads.
“Manufacturing The Hive” is an allegorical narrative used to describe the synthetic landscapes dictating our environments. We, the worker bees, perpetuate the synthetic environment by continuing to manufacture the hive. The process is inevitable. The worker bees continue to build. Day after day. We sustain the driving force behind perpetual growth until we disappear…..
This project has yet to come to fruition in its complete form. The pictures show a maquette built for the idea.
Rubble Without A Cause I 2015
Downtown Albuquerque Civic Plaza. Put on By 24hrs of art.
“Rubble Without a Cause” is an interactive multimedia installation made from recycled material that is part of an ongoing project begun in 2013 by artists Kyle Erickson and Zane White.
The premiere of this installation took place at an outdoor event allowing it to be exposed to a wider public audience. The televisions were sandwiched in between a space in the central pillar of the plaza as if a dump truck had backed up and dumped them there and left. This work incorporated old car parts and tires along with flags used to mark future development. We kept the Loui Vuitton patterning on the televisions and added more of the bright colors to the rubble and junk to compliment the colors on the televisions. The work was very successful and generated sustained interaction the entire event.
E Unibus Pluram 2015
Harwood Art Center, Albuquerque, New Mexico. 2015
E Unibus Pluram offers a multimedia fine art and entertainment experience focused on varying cultural attitudes in regards to the environment, both natural and digital, that inform social beliefs and infrastructure. The artwork presents perspectives on mass media, wilderness, city life, and the cosmos and explores how they relate to social systems, both organic and contrived.
This was the initial installation done as part of a group exhibition examining the environment. The televisions are painted with a Loui Vuitton logo pattern. Some are fitted with a broken glass mirror, some project screens of static, and others are wired to mini surveillance cameras that pick up the surrounding environment. The televisions are stacked to form an altar at the corner of the gallery complete with painted fast food trash and lit candles at the opening. The work is an altar to those oppressed and broken by materialism.
Cerro Strata 2014
“Cerro Strata” is a site specific instillation created for the Albuquerque Sufmmerfest of 2014. This project was inspired by the wasteland areas of Meadow Lake, close to Los Lunas, NM(where artists Jorge De La Torre and Zane White grew up) that contain many examples of illegal junk dumping of objects from automobiles to furniture and appliances. Needless to say, there is quite a resource of old tires illegally rotting away in areas that could otherwise be classified as beautiful open land. Though our previous projects involved the dynamic of a site specific installation in the areas where we find our materials, we explored bringing this work into the city for display instead. By doing this we hoped to bring awareness to consumption and illegal environmental damage and inspire others to use these resources for constructive purposes.
The sculpture was composed of 67 tires arranged in concentric circles that became smaller as it approached the top of the structure like a pyramid. This sculpture also featured 8 levels that were painted specific colors to reference color compositions found in the landscape of New Mexico. These colors reference the colors found in the land and the sunsets of New Mexico. The color scheme is also meant to represent the idea that this location (New Mexico) is a “kaleidoscope of color” that inspires creative activity and attracts artists from all over the globe. These colors also illustrate the oftentimes surprising subtle and complex color schemes found in this high desert climate that is stereotypically thought of as a baron, dull and uninteresting.
The top of the sculpture featured a tire shown vertically with attached spray paint cans used in the project arranged in a sunray pattern.
The end result was a strong sculptural form with bright colors that attracted lots of attention.