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  • WEST HALL OPEN STUDIO | nina-isabelle


  • Multidisciplinary Artist | New York | Nina A. Isabelle

    Nina Isabelle HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... Addition Equals Subtraction, 43.50 x 62.25, house paint and flashe on canvas, 2017 Nina A Isabelle performing in Temporary Ungovernable Zone for Anarko Art Lab at Ft. Tilden, NYC. Photo by Jaime Rosenfeld RECENT / CURRENT / UPCOMING -PSYCHIC SELF-DEFENSE Sculpture, Installation, & Demonstration at Art/Life Kingston, May 1st - 29th, 2021 -Imagined Performances read by IV Castellanos at Para\\el Performance Space, Brooklyn, NY, February 12, 202 1 - Kerry Santullo interviews Nina Isabelle for NYC Children's Museum of Art "Meet The Makers ," October 21, 2020 -Spheres of Perception & Value, Virtual Presentation, Hynes Institute for Entrepreneurship & Innovation at Iona College , September 21, 2020 -Video Manifestation System User Interface Lecture and Presentation , Grace Exhibition Space, NYC , May 1, 2020 -Superfund Revisioning Project Lecture, Grace Exhibition Space, NYC . May 15, 2020 -EQUINOX , An Emergency of Joy, March 19, 2020 -The Ear , Brooklyn, NY, August 23, 2019 -Remarkable New Locations - Nye Ffarrabas & Nina Isabelle, CX Silver Gallery, Brattleboro, VT, May 18th - June 15th, 2019 - PARALLEL -104 Meserole Street, Brooklyn NY, Saturday, March 23rd,2019- 7:PM -documentation discussion panel with LiVEART.US featuring Emergency INDEX at Queens Museum , February 17, 2019 2:00-5:00 -Emp athy Blinders by David Ian Bellows/Griess with Nina Isabelle & Elizabeth Lamb, Brooklyn Arts Media , December 4-18, 2018 -As Far As The Hart Can See / In Honor of , The Elizabeth Foundation for the Arts , NYC, October 20th, 2018 -actLife , Linda Mary Montano, Nye Ffarrabas, Cai Xi, Nina Isabelle, Jennifer Zackin, Lee Xi & Sharon Myers, CX Silver Gallery, Brattleboro, VT, August 24 -Healing + Arts / Radical Domesticity, Movement Metaphors Workshop, Kingston, NY, August 24, 2018 -NO NUDES NO SUNSETS , August 11 - September 22, 2018, Green County Council on the Arts , Catskill, NY -Whistle Portraits, Linda Montano & Nina Isabelle, Secret City Art Revival, Woodstock, NY, July 28 - DRAMATIC OBJECT MAKING / EMPATHY BLINDERS with Elizabeth Lamb & David Ian Bellows Griess, THREE PHASE , Sept.1, 2018, Stone Ridge, NY - WE CAN'T TELL WHAT WE'RE DOING, HiLo , July 20, 2018 - August 26, 2018, Catskill, NY -Whistle Portraits , Linda Mary Montano, Nina Isabelle & Jennifer Zackin, HiLo, Catskill, NY June 10, 2018 -ANIMALIA , Anarchist Art Festival, Judson Memorial Church, NYC, June 8 2018 -GUTTER HANGER w/ Lorene Bouboushian & Friends, THREE PHASE , 1:PM-DARK, May 27, 2018, Stone Ridge, NY - EMBODYING THE OUTER BODIES: a demonstration of low-level energetic vacuum form technologies 7:PM, May 24, 2018, PPL , Brooklyn, NY - Citizen Participation: Diagrams & Directives , Feminist Art Group, , May 6, 2018, NYC -Hymn Warp Transducer at Paul McMahon' s Bedstock Exhibit, 9 Herkimer Place, Brooklyn, NY, April 15, 2018 -New Genres at Living Arts in Tulsa,OK , March 2-3, 2018 -MUSCULAR BONDING at M.A.R.S.H. (Materializing and Activating Radical Social Habitus)- Feb 15 - March 5, St. Louis, MO -The Video Manifestation System released by Human Trash Dump - February 26, 2018 -PIANO PORTRAITS By Linda Mary Montano with Nina Isabelle, & Jennifer Zackin at HiLo , Catskill, NY, Feb. 11, 2018 -BEAST CONJURING by Nina Isabelle , The Mothership , Woodstock, NY, Jan16-21, 2018 -MKUVM , Human Trash Dump, November 27, 2017 -The Bedroom , 4th Iteration by The Women Artist Team, Holland Tunnel Gallery , Brooklyn, NY , October 20- November 12 -Patricia Field's International Art / Fashion Show , Joe's Garage, October 6, 2017, Catskill, NY -CENTENNIAL:SHE , Greene County Council on the Arts, October 7 - November 11, 2017 - The Shirt Factory Centennial Celebration- Performance / Open Studio , Kingston, NY, September 16, 2017 -F.A.G. Slumber Party , Nina's House & Yard Studio, Hurley, NY September 4-6, 2017 - We Are The Secret Garden: An Evening of Performance, Kingston, NY September 26, 2017 - The Bedroom , The Women Artist Team at NA Gallery, Chungcheongnam-do, South Korea, July 23- Aug. 7, 201 7 -Just Situations , Grace Exhibition Space, Brooklyn, NY, July 23, 2017 -Temporary Ungovernable Zone , Anarcho Art Lab / ARTINYC, Ft. Tilden, NY July 8, 2017 -Experimental Archery Workshop , Rosekill Performance Art Farm, Rosendale, NY, June 10, 2017 - Mothering , Rosekill Performance Art Farm, Rosendale, NY, June 3, 2017 - N Y C Anarchist Performance Art Festival #11 , The Judson Memorial Church , NYC, May 12, 2017 -The Fabric Of Women's Space-Time , The Lace Mill Gallery, Kingsotn, NY, May 13, 2017 - UNITY , The Lace Mill Gallery, Kingston, N, May 6-13, 2017 -The Unstitute's Projection Room ,Catalunya, Spain, August 2017, - STAGES , Performance by Clara Diamond with Valerie Sharp & Nina Isabelle, GREENKILL , APRIL 15, 2017 -P R O P E R T Y , R O M A N S U S A N / RPWRHS, CHICACO, IL, APRIL 1-30, 2017, - Bangkok Underground Film Festival , Bridge Art Space, Bangkok, Thailand, March 4-12, 2017 -SHORTCUT TO HELL , January 22, 2017, Otion Front Studio, Brooklyn, NY -HiLo Art , April 2017, Catskill, NY -EotW (Embarrassed Of The Whole) February 4, 2017, Panoply Lab, Brooklyn, NY -Mock The Chasm, November 12, 2016, Art/Life Institute Kingston, NY -JOB /// IV Soldier's Feminist Art Group at Panoply Performance Lab, Brooklyn, NY -San Diego Art Institute - The Dead Are Not Quiet , San Diego, CA October 1-31 -Animal Maximalism , Green Kill, Kingston, NY, October 1-15 -POLITRICKS: Theories & Other Conspiracies , October 14, Ellipsis Art, Philadelphia, PA -Artist and Location , September 23-October 9, Czong Institute For Contemporary Art, Gimpo Korea, -Jurnquist Coloring Book Show , September 24, Studio Fidlär, Alexanderplatz, Berlin

  • SOLVERMATH | nina-isabelle

    HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... (COMING SOON) SOLVERMATH A conceptual math model that proves the improbability of knowing what you’re doing The human body is a sophisticated and responsive module capable of intermediating, detecting, and deciphering variables outside the realm of its awareness. Solvermath uses relational math to reveal an absence of relation between sense-informed response and sense of knowing. The project is inspired by Gödel's theorems concerning the limits of provability which say that “it is impossible to give a meta-mathematical proof of the consistency of a system comprehensive enough to contain the whole of arithmetic unless the proof itself implies rules of inference different in certain essential respects from the transformation rules used for deriving theorems within the system” and that “any other system within which arithmetic can be developed, is essentially incomplete because there are true number-theoretical statements that cannot be derived in the system.”

  • Nina A. Isabelle

    HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... ​ NINA A. ISABELLE Kingston, NY ​ Nina Isabelle is a process based artist working with perception, action, language, and phenomena. Her practice is a method to sort and solve the inconsistencies of language, memory, and form. She makes paintings, drawings, photographs, video, sculpture, sound, performance and writing as inquiry into how sensory perception functions as the impetus for action, reaction, response, and choice making in art and life. Her work often merges disciplines as she explores how sense data compels actions, informs concepts, and the unconscious and conscious impact these variables have on decision making processes used to construct meaning and worlds. Motivated by the failure of dialogue, the dissonance between form and content, the imposition of objects in space, as well as the deficiencies of literal language, her projects highlight how modes of psychic imprinting and cerebral interpretations come together to organize perception in ways that can inform and solidify new possibilities and transformations. She often arranges structures for action, gesture, and performance as a way to reveal surprises or new information. She might act out directives such as repetitive gestures and/or categorical movements inspired by mathematical number sequences, geometric or asymmetrical patterns, GPS location, or directions within open time segments to find ways that improvised movements, reactions, and responses can be examined, quantified, relearned, or transformed. Her projects often compel her to construct life size human forms, sew garments or other wearable objects, wrap and/or suspend arrangements, weld steel structures that might become a wearable, percussion instrument, a kinetic sculpture, or all three. The sculptural objects that result from her process are project-specific and function as concept-artifacts, or evidence of a process of engaging with physical material. Along the way and afterward, she scrutinizes everything including conception, design, creation, physical actions & interactions, and destructive elements as a way to notice inconsistencies or transformations that demonstrate how manipulating physical material might reveal information about ways of manipulating non physical dimensions including concepts. ​ Isabelle use photography and video documentation as instruments to highlight and inspect sensory inconsistencies and memory schisms that occur throughout expanded timelines. By simultaneously displacing perception into three different vantages (the observer, the observed, and the observer of the observed,) she is able to engage with documentation as a tool to untangle problems related to sequence and simultaneity, physical location and material, the affability of memory, the complexities of self and other, and the inconsistencies experienced by the observer and experiencer over time. Her projects often include soundscapes made using her personal collection of audio samples including inaudible language or partially told stories, text-to-speech robots, discordant and degraded audio bombardments, multilayered barrages of noises sampled from her life such as gun shots, clicking bicycle sprockets, wind hitting a microphone, my kids, and my own improvised interactions with musical instruments. As part of her process, Isabelle will stretch, layer, reverse, overlap, or modify her soundscapes creating a cacophonic experience that might engage and scramble or distract and divert a portion of perception with the goal of freeing up other awareness functions. Isabelle's work has been presented at The Elizabeth Foundation for the Arts in New York City, The Queens Museum as part of Emergency Index Documentation Discussion, Judson Memorial Church, Grace Exhibition Space, and ABC No Rio in Exile at Bullet Space in NYC with Feminist Art Group, as well as at Para//el Performance Space and The Ear in Brooklyn, NY. Internationally her projects have been presented at Czong Institute for Contemporary Art in Gimpo, South Korea, The Unstitute in Catalunya, Spain, Bangkok Underground Film Festival in Thailand, and NA Gallery in South Korea. Nationally her work has been shown at The San Diego Art Institute, The New School's exhibition at The Bushwick Collective, Roman Susan in Chicago, IL, and CX Silver Gallery in Brattleboro VT, among others. In 2018 Isabelle founded Three Phase Center for Collaborative Art Research & Building in Stone Ridge, NY where she facilitates, collaborate with, and document the work of process based conceptual and performance artists. Three Phase Center also produces a video documentary series titled Documenting Process that aims to substantiate the utility of art processes that challenge the measures of value established by institutions and markets by highlighting the lateral values of the processes and practices artists engage with that benefit their social spheres, themselves, or larger communities in less quantifiable ways. The series features artists talking about their practices, process, influences, motivations, and future plans in relatable and accessible terms. Isabelle is continually motivated to work, present projects, facilitate, and collaborate with artists and idea people of any sort. Please feel free to contact her to schedule a studio visit. She also have many pieces of artwork for sale and is happy to discuss commissioned works including painting, drawing, photography, video, and sculpture. ​ Educational Statement I first studied art at Pennsylvania School of Art and Design in 1991, and then at The University of Utah. I received my Bachelor's in Art from Westminster College and graduated with honors in 1999. In 2022 I received a Rensselaer Graduate Fellowship award to pursue study in the doctoral program in Electronic Arts at Rensselaer Polytechnic Institute. In addition to my formal schooling, I credit the lives and work of artists, colleagues, friends, writers, and thinkers including Susan Langer, Linda Montano, Sasha Morgenthaler, Ray Eames, Hilma af Klint, Käthe Kollwitz, Louise Bourgeois, Hans Haacke, Henry Moore, Jim Dine, The Starn Brothers, Nelson Goodman, Noam Chomsky, Paavo Pylkkänen, and Willard Van Orman Quine. ​ ​ Exhibitions, Collaborations, Participations & Projects 2022 West Hall Open Studios, Rensselaer Polytechnic Institute, Troy, NY 2022 Livestream - Nina Isabelle & Adriana Magaña at Jennifer Zackin's Upstate Art Open Studio, July 2022 2021 Building as Being / Construction as Performance - IV Castellanos & Nina Isabelle at Rosekill Performance Art Farm, June 2021 2021 Nina Isabelle - Artist, Thinker, Observer , Theresa Widman's Podcast #183 2021 The Black Meta Interviews Nina Isabelle for Radio Kingston, by Beetle & Freedom Walker, May 2021 2021 Psychic Self Defense, Artlife Institute, Kingston, NY 2021 Imagined Performance written by Nina Isabelle presented by IV Castellanos, Para\\el Performance Space, Brooklyn, NY 2020 Meet The Makers, Children's Museum of Art in NYC interviews Nina Isabelle, October 21, 2020 2020 Spheres of Performance, Perception, and Value, virtual presentation for The Hynes Institute of Entrepreneurship & Innovation at Iona College, September 2020 2020 Video Manifestation System User Interface Lecture and Presentation, Grace Exhibition Space, NYC , May 1, 2020 2020 Superfund Revisioning Project Lecture, Grace Exhibition Space, NYC . May 15, 2020 2020 EQUINOX, An Emergency of Joy, March 19, 2020 2019 The Shape of a Feeling & the Languages of Organizational Structures, The Esthetic Apostle, October 2019. Web. 2019 Choices & Voices, The Ear, Brooklyn, NY 2019 Remarkable New Locations, CX Silver Gallery, Brattleboro, VT 2019 April 5th Video for Daily Trumpet by Jonathan Horowitz. Web. 2019 Illuminating Intangibles with Amelia Iaia at Para\\el Performance Space, Brooklyn, NY 2019 Documentation Discussion with LiVEART.US & Emergency INDEX at Queens Museum 2018 Empathy Blinders by David Ian Bellows/Griess with Nina Isabelle & Elizabeth Lamb, Brooklyn Arts Media , December 4-18, 2018 2018 LaTable Ronde / Critical Practices Round Table #7.1 on Careerism, NYC 2018 In Honor Of, The Elizabeth Foundation for the Arts, NYC 2018 actLife , Linda Montano, Nye Ffarrabas (Bici Forbes,) Cai Xi, Lee Xi, Nina Isabelle, Jennifer Zackin, Sharon Myers, C.X. Silver Gallery, Brattleboro, VT 2018 Healing + Arts / Radical Domesticity , Movement Metaphors Time Travel Workshop, Kingston, NY 2018 No Nudes / No Sunsets , Greene County Council on the Arts, Catskill, NY 2018 Whistle Portraits with Linda Mary Montano & Jennifer Zackin, Secret City Art Revival, Woodstock, NY 2018 Whistle Portraits with Linda Mary Montano & Jennifer Zackin, HiLo, Catskill, NY 2018 Animalia , 2018 Anarchist Art Fair at Judson Memorial Church, NYC 2018 Performancy Forum, ForceYourself to be Good , Panoply Performance Laboratory, Brooklyn, NY 2018 Citizen Participation: Diagrams & Directives , Feminist Art Group, ABC No Rio in Exile at Bullet Space, NYC 2018 The Hymn Warp Transducer, Paul McMahon's Bedstock, 9 Herkimer Place, Brooklyn, NY 2018 Muscular Bonding, New Genres Arts Festival, Living Arts, with Esther Neff, Beth Neff, Kaia Giljia, 3dward Sharp, and Adriana Disman, Tulsa, OK 2018 M.A.R.S.H (Materializing & Activating Radical Social Habitus,) with Esther Neff, Beth Neff, Kaia Giljia, 3dward Sharp, and Adriana Disman, in St. Louis, MO 2018 Video Manifestation System by Nina A. Isabelle, Human Trash Dump, , 2018 Piano Portraits with Linda Mary Montano, Nina Isabelle, & Jennifer Zackin at HiLo in Catskill, NY 2018 Beast Conjuring , The Mothership, Woodstock, NY 2017 MKUVM , Human Trash Dump, Nov. 27, 2017, 2017 Vidiot , The Unstitute, Catalonia, Spain & Virtual 2017 4th Iteration of The Bedroom by T.W.A.T. (The Women Art Team), Holland Tunnel Gallery, Brooklyn, NY 2017 CENTENNIAL:SHE , Greene County Council on the Arts, Catskill, NY 2017 Patricia Field's Art/Fashion Show, Joe's Garage, Catskill, NY 2017 Feminist Art Group Performance, Old Glenford Church Studio, Glenford, NY 2017 Midtown Arts District Art Walk, Kingston, NY 2017 The Shirt Factory Centennial, Kingston, NY 2017 The Unstitute's Projection Room, Integrative Ontological Practices by Selden Paterson & The Eucharist Machine by Nina Isabelle, Catalonia, Spain & Virtual 2017 We Are The Secret Garden , The Stable Yard at Ernest, Anna, & Ming's in Kingston, NY 2017 The Bedroom , The Women Artist Team at NA Gallery, Chungcheongnam-do, South Korea 2017 Just Situations with FAG, Grace Exhibition Space, Brooklyn, NY 2017 Ungovernable Zone by Anarko Art Lab at Secret Garden Art Festival at Ft. Tilden, NYC 2017 Beautiful Symphony: Women Creating Chaos with F.A.G at Rosekill, Rosendale, NY 2017 Experimental Archery & Mark Making, Rosekill, Rosendale, NY 2017 MOTHERING , Rosekill Performance Art Farm, Rosendale, NY 2017 If You Don't Go Out In The Woods , Legacy Fatale, Rosekill Performance Art Farm, Rosendale, NY 2017 oUT iN tHE zONE, Anarchist Art Festival #11, Judson Memorial Church, NYC 2017 UNITY, The Lace Mill Gallery, Kingston, NY 2017 Wish You Were Here II, The Old Glenford Church Studio, Glenford, NY 2017 Feminist Art Group (F.A.G.) Knights of The Round Table , Grace Exhibition Space, Brooklyn, NY 2017 Stages, Green Kill Gallery, Kingston, NY 2017 Property, Roman Susan & Rogers Park / West Ridge Historical, Chicago, IL 2017 Bangkok Underground Film Festival, Bridge Art Space, Bangkok, Thailand 2017 Embarrassed of the Whole, Time Travel Research, Panoply Performance Laboratory, Brooklyn, NY 2017 SHORTCUT TO HELL, Otion Front Studio, Brooklyn, NY 2016 Laundry Loops with JOB // IV Soldier's F.A.G. (Feminist Art Group, ) Panoply Performance Laboratory, Brooklyn, NY 2016 The Dead Are Not Quiet, San Diego Art Institute, San Diego, CA 2016 Artist and Location , Czong Institute For Contemporary Art (CICA) Museum, Gimpo, Korea 2016 The Jernquist Coloring Book Show, Studio Fidlär, Alexanderplatz, Berlin 2016 PoliTRICKS , Art Ellipsis, Philladephia, PA 2016 Feminist Art Group in IV Soldiers Gallery at Rosekill Performance Farm, Rosendale, NY 2016 85th Annual Woodstock Library Fair, Woodstock, NY 2016 The Shirt Factory Open Studios, Kingston, NY 2016 The New School / Bushwick Collective, Brooklyn, NY 2016 The Shirt Factory Artists , Wired Gallery, High Falls, NY 2016 Wish You Were Here , The Old Glenford Church Studio, Glenford, NY 2016 Installation and Performance at The Art Life Institute with Clara Diamond, Kingston, NY 2016 The Pain Project / Alice Teeple-Now Is Real , Star House Gallery, Kingston, NY 2015 Silent Mass Generator Workshop , Grace Exhibition Space Archive, Kingston, NY 2015 Instinct , The Parliament, York, PA 2015 Posthumous Collaborations , Star House Gallery, Kingston, NY 2015 Abstract Mediums , Star House Gallery, Kingston, NY 2014 Witness: The Cedar Tavern Phone Booth Show , Star House Gallery, Kingston, NY 2014 Old Pro , Punk Rock Fish Studio, Berlin, MD 2014 Art Along The Hudson at S.P.A.F, Saugerties, NY 2014 Star House Gallery, Studio Sale, Kingston, NY 2014 Varga Gallery Memorial Day Group Show, Woodstock, NY 2014 Bold And Bright curated by David Barr, Artspace,Falls Church, VA 2013 Ethos of Abstraction -Nina Isabelle/Lucienne Weinberger, Stray Cat Gallery, Bethel, NY 2013 The Garden Cafe, Woodstock, NY 2013 Diagnosis Artist , Star House Gallery, Kingston, NY 2013 Half Your Age , Barrett Art Center, Poughkeepsie, NY 2013 Barrett Art Center, Kinetic , Poughkeepsie, NY 2013 Art Foray, Wired Gallery, High Falls, NY 2013 Home Grown , Hole In The Wall Gallery, Mechanicsburg, PA 2013 Outer Expressions of Inner Mayhem , solo show, Metropolis Collective, Mechanicsburg, PA 2012 Bits & Pieces , The Metropolis Collective, Mechanicsburg, PA 2012 Cool Cats , Hole in The Wall Gallery, Mechanicsburg, PA 2012 Fall Season Show, Greenpoint Gallery,Brooklyn, NY ​2012 IDIOM , Unison at Water Street Market Gallery, New Paltz, NY 2012 The Maltese Falcon, Barrett Art Center, Poughkeepsie, NY 2012 Trash Art Gallery at The Metropolis Collective, Mechanicsburg, PA 2012 The Handmade Photograph , Mills Pond House Gallery, Smithtown, Long Island, NY 2012 Sex 7 , Projekt 30, NYC 2012 Cornell St. Studio, Kingston, NY 2012 Varga Gallery, Goddess Show, Woodstock, NY 2012 Erotica , Tivoli Artists co-op, Tivoli, NY 2012 Birds of a Feather , Varga Gallery. Woodstock, NY 2011 Paintings / Drawings, Lovebird Studios, Rosendale, NY 2011 Season Show, Art @ Home, Kingston, NY 2010 Wings Gallery, Rosendale, NY 2007 South Main Studios, Gunnison, CO 2007 Paragon Gallery, Crested Butte, CO 2005 The Gunnison Arts Center, Gunnison, CO 2004 The Gunnison Arts Center, Gunnison, CO 2003 The Gunnison Arts Center, Gunnison, CO 2002 The Gunnison Arts Center, Gunnison, CO 1999 Jewett Center, Westminster College, Salt Lake City, UT 1998 Sundance Gallery, Sundance, UT 1998 Weber State College, Weber, UT 1992 P.S.A.D Student Gallery, Lancaster, PA 1991 P.S.A.D. Student Gallery, Lancaster, PA 1990 Centre Film Lab, State College, PA 1989 Art Alliance of Central Pennsylvania, State College, PA 1988 Pennsylvania State Capital Building, Harrisburg, PA ​ Solo Exhibitions 2021 Psychic Self-Defense, Artlife Institute Kingston, Kingston, NY 2019 Remarkable New Locations, CX Silver Gallery, Brattleboro, VT 2018 We Can't Tell What We're Doing, HiLo, Catskill, NY 2018 The Beast, The Mothership, Woodstock, NY 2017 Nina A. Isabelle at HiLo Art, Catskill, NY 2016 Animal Maximalism , Green Kill, Kingston, NY 2016 Hyperactive Installation at The Shirt Factory, Kingston, NY 2016 The Pain Project , Art/Life Institute, Kingston, NY 2014 The Random Community Generator , Star House Gallery, Kingston, NY 2013 Inner Mayhem , Metropolis Collective, Harrisburg, PA 2002 Nina Isabelle, Gunnison Art Center, Gunnison, CO 1999 Handmade Photographs , Bibliotheque, Salt Lake City, UT Performance 2022 Livestream - Nina Isabelle & Adriana Magaña at Jennifer Zackin's Upstate Art Open Studio, July 2022 2021 Building as Being / Construction as Performance - IV Castellanos & Nina Isabelle at Rosekill Performance Art Farm, June 2021 2020 EQUINOX, An Emergency of Joy, Three Phase Center, Stone Ridge, NY 2019 Illuminating Intangibles, Para\\el Performance Space, Brooklyn, NY 2018 Land Lines with Jennifer Zackin, C.X. Silver Gallery, Brattleboro, VT 2018 Whistle Portraits with Linda Mary Montano & Jennifer Zackin, Secret City, Woodstock, NY 2018 Whistle Portraits with Linda Mary Montano & Jennifer Zackin, HiLo, Catskill, NY 2018 Embodying The Outer Bodies / Force Yourself To Be Good Panoply Performance Laboratory , Brooklyn, NY 2018 Citizen Participation: Diagrams & Directives, Feminist Art Group, , NYC 2018 The Hymn Warp Transducer, Paul McMahon's Bedstock, 9 Herkimer Place, Brooklyn, NY 2018 Muscular Bonding, New Genres Arts Festival, Living Arts, with Esther Neff, Beth Neff, Kaia Giljia, 3dward Sharp, and Adriana Disman, Tulsa, OK 2018 M.A.R.S.H (Materializing & Activating Radical Social Habitus,) with Esther Neff, Beth Neff, Kaia Giljia, 3dward Sharp, and Adriana Disman, in St. Louis, MO 2018 Piano Portraits with Linda Mary Montano, Nina Isabelle, & Jennifer Zackin at HiLo in Catskill, NY 2018 Beast Conjuring, The Mothership, Woodstock, NY 2017 We Are The Secret Garden , The Stable Yard at Ernest, Anna, & Ming's in Kingston, NY 2017 Just Situations with FAG, Grace Exhibition Space, Brooklyn, NY 2017 Ungovernable Zone by Anarko Art Lab at Secret Garden Art Festival at Ft. Tilden, NYC 2017 MOTHERING , Rosekill Performance Art Farm, Rosendale, NY 2017 If You Don't Go Out In The Woods , Legacy Fatale, Rosekill Performance Art Farm, Rosendale, NY 2017 oUT iN tHE zONE, Anarchist Art Festival #11, Judson Memorial Church, NYC 2017 The Fabric of Women's Space-Time, The Lace Mill Gallery, Kingston, NY 2017 Stages , Green Kill Gallery, Kingston, NY 2017 Embarrassed of the Whole, Time Travel Research, Panoply Performance Laboratory, Brooklyn, NY 2016 Mock The Chasm , Art / Life Institute, Kingston, NY 2016 Laundry Loops at JOB /// IV Soldier's F.A.G. Feminist Art Group at Panoply Performance Lab, Brooklyn, NY 2016 Q: INFORMATICUS, P)REPARING THE REAL , The Panoply Performance Laboratory, Brooklyn, NY 2016 Performances Sketches / Clara Diamond's Residency at Art/Life Institute, Kingston, NY 2015 The Q: Entity , The Art/Life Institute, Kingston, NY 2015 The Silent Mass Generator Workshop , Grace Exhibition Space Archive, Kingston, NY 2005 Mirror , Taylor Hall at Western State College University, Gunnison, CO 2002 What Do We Have? / Vanity / Death, Jaquelynne Brodeur & Nina Isabelle, The Gunnison Art Center, Gunnison, CO 1999 The Dischordant Student , Jewett Center, Salt Lake City, UT ​ Video Production 2022 Documenting Process: Cai & Le Xi 2022 Documenting Process: Josh Babu 2022 Steve's Dream 2021 Documenting Process: Shola Cole AKA Pirate Jenny 2019 Documenting Process: Linda Mary Montano 2019 Documenting Process: The Architecture of a Stream by Valerie Sharp 2018 Documenting Process: Decompositions by Brian McCorkle 2018 Seemripper 2018 Video Manifestation System, Human Trash Dump, 2016 The Eucharist Machine, 4:48, 2016 Certain Solutions For Solving Problems, 8:40, 2016 Domestic Loops, 6:20, 2016 Mother Vs. God, 0:47, 2016 IBM- Tech City Re-Vision , 0:55 2016 The Giant Candle - Environmental Healing Spell By Proxy , 2:43, 2016 Locational Trauma Transform, 2:54 https: 2016 Performance Sketch at Art/Life Institute 2016 The Story Of Terror / Ax In The Stump 2016 Building Connections 2016 C O D E 2015 Feeding The Entity 2015 Siblings 2015 Q:Entity at Art/Life Institute ​ Curating / Hosting / Facilitating 2022- iEar Salon curatorial committee member, Rensselaer Polytechnic Institute, Troy, NY 2021- 2022 Sound of Ceres- facilitate set construction & studio space for production of Emerald Sea 2022 - BIRTHDAYARAMA - Linda Mary Montano's 21 hr. Zoom Birthday Party 2021 Michelle Temple 2021 Shola Cole- Drawing, Welding, & Construction for Time Travelers 2020 Notice Recording presents New Music & Free Jazz, Three Phase Center, Stone Ridge, NY 2020 Social Dissonance, Paul McMahon, Three Phase Center, Stone Ridge, NY 2019 FUTURE: Shola Cole AKA Pirate Jenny, Three Phase Center, Stone Ridge, NY 2019 Speed, Light, Motion & Gesture: Video Installation by Josh Babu, Three Phase Center, Stone Ridge, NY 2019 Infinity Within & Without, Cai Xi and Le Xi, Three Phase Center, Stone Ridge, NY 2019 Hurray! The Gland Doctors Graduate. Linda Mary Montano, Amanda Heidel, Arielle Ponder, Megumi Naganoma, and Lynn Herring 2019 Lorene Bouboushian & The Undoing And Doing Collective, Three Phase Center, Stone Ridge, NY 2019 The Architecture of A Stream by Valerie Sharp, Three Phase Center, Stone Ridge, NY 2019 Public Vortex Weaving by Jennifer Zackin, Three Phase Center, Stone Ridge, NY 2018 The Malleability of Memory by Ernest Goodmaw, Three Phase Center, Stone Ridge, NY 2018 Eleven Modes of Decomposition by Brian McCorkle, Three Phase Center, Stone Rodge, NY 2018 The Obstructionist: Empathy Blinders & Dramatic Object Making with Elizabeth Lamb & David Ian Bellows / Griess, Three Phase Center, Stone Ridge, NY 2018 Thinkers & Doers Feminist Workgroup with Ernest Goodmaw, Havarah Zawoluk and Anna Hafner, Three Phase Center, Stone Ridge, NY 2017 The Shirt Factory Centennial Performance & 3rd Floor Pop Up, The Shirt Factory, Kingston, NY 2016 Animal Maximalism Performances at Green Kill, Green Kill, NY 2016 Alice Teeple, Now Is Real , Star House Gallery, NY 2015 Owen Harvey, The Local Gallery, Kingston, NY 2015 Recent Paintings by Chad Gallion , Star House Gallery, Kingston, NY 2015 Through The Lens : The Sudbury Photo Show, Star House Gallery, Kingston, NY 2014 Adam & Jeff: An Abstract Painter and His Mentor , Star House Gallery, KIngston, NY 2014 Parallel Places: Owen Harvey / Michael Hunt , Star House Gallery, Kingston, NY 2014 The Cedar Tavern Phone Booth Show, Star House Gallery, Kingston, NY 2013 Isaac Abrams / Kelly Bickman , Star House Gallery, Kingston, NY 2013 Narrative , Star House Gallery, Kingston, NY 2013 Artist Talk: Kerry Mueller , Star House Gallery, Kingston, NY 2013 Diagnosis: Artist , Star House Gallery, Kingston, NY ​ Awards/ Fellowship 2022 - Rensselaer Graduate Fellowship Bibliography - Widman, Theresa. "Nina Isabelle - Artist, Thinker, Observer." I want What She Has . 2 Aug. 2021. Podcast. - Beetle & Freedom Walker. The Black Meta- Psychic Self-Defense: Artist, Nina Isabelle" 4 May. 2021. Podcast. Radio Kingston WKNY. -Santullo, Kerry. “‘Meet The Makers - 5 Minutes with Artist Nina Isabelle.’ "Children's Museum of the Arts New York, 21 Oct. 2020, . - Hynes Institute for Entrepreneurship & Innovation, and Danny Potocki. "E-talk with Nina A. Isabelle." YouTube. YouTube, 15 Oct. 2020. Web. 22 Dec. 2020. -"The Shape of a Feeling & the Language of Organizational Structures." The Esthetic Apostle. October 2019. Web - - Varalla, Adriana. "12th Annual NYC Anarchist Art Festival." / - Neff, Esther Marveta. "New Genres at Living Arts Tulsa." Blog Post. 7 March. 2018. Web. -Neff, Esther Marveta. "Muscular Bonding." Blog Post. 25 Jan. 2018. Web -Bresnan, Debra, "Activating Perception - Nina A. Isabelle." MAD Kingston. May 2017. Web -"GALERII Eesti Performance'i Grupp Non Grata Esines New Yorgi Anarhismi Festivalil."Õhtuleht. N.p., 24 May 2017. Web. 26 May 2017. - Elissa Garay, "Kingston: Capital of Culture." Chronogram. March 2017: p. Print. - Mills Messner, Heather. "Featured Artist Nina Isabelle." Aife Media Fall/Winter 2016: p.22-23. Print - Josh, Ryder, and Rutigliano Dario. "ARTiculAction Art Review // Special Issue." Issuu. Articulaction Art Review, Jan. 2016. Web. - Rutigliano, Dario, and Josh Ryder. "Nina Isabelle." ARTiculAction Art Review Jan. 2016: 124-49. Print. - Isabelle, Nina A. "Fashion Trends." Goodlife Youth Journal 5.1 (2016): p.20. Print. - George, James. "Nina Isabelle at Falls Church Arts, Bold & Bright." Arlington Art Examiner. 2014. Web. - Malcolm, Timothy. "Stumps For The Outsider." Record Online. Times Herald-Record, 13 Sept. 2013. Web. - Gussin, Bruce. "If It Isn't Not Broken Don't Unfix It." Blog post. Life and How to Live It. 5 Dec. 2010. Web. ​ ​ Residency 2006 Artist in Residence, Gunnison Art Center Summer Residency Program, Gunnison, CO ​ Workshops 2018 Movement Metaphors Time Traveling Workshop, Healing + Art / Radical Domesticity, Kingston, NY 2017 Experimental Archery & Mark Making, Rosekill, Rosendale, NY 2017 Metaphors of Movement, Body Systems, Disease, and Society, Grace Exhibition Space, Brooklyn, NY 2015 The Silent Mass Generator Workshop with Clara Diamond, GES Archive 411 Studio, Kingston, NY Teaching 2014-2016 Photography, Hudson Valley Sudbury School Photography CO-OP, Kingston, NY 2016 Art History & Ideas, HVSS Art History CO-OP, Kingston, NY 2016 Introduction to Digital Photography, The Shirt Factory, Kingston, NY 2003-2006 Modern Dance, Gunnison Arts Center, Gunnison, CO 2006 Oil Painting Workshop, Crested Butte Center of the Arts, Crested Butte, CO 2006 Oil Painting Workshop, Gunnison Arts Center, Gunnison, CO 1988-1990 Kids Photography and Dark Room, Woodward Camp, Woodward, PA ​ ​ References - -Hynes Institute for Entrepreneurship & Innovation, and Danny Potocki. "E-talk with Nina A. Isabelle." YouTube. YouTube, 15 Oct. 2020. Web. 22 Dec. 2020. - - ​


    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 ​ ​

  • LIVE STREAM | nina-isabelle


  • Nina A. Isabelle // Multidisciplinary Artist // Kingston, NY



    HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... MUSCULAR BONDING-PHOTO DOCUMENTS Adriana Disman, Nina Isabelle, Kaia Gilje, Beth Neff, Esther Neff, Edward Sharp M.A.R.S.H, St. Louis / Living Arts, Tulsa, OK ​ February 15 - March 5, 2018 ​ We traveled, lived, worked, and performed together for three weeks as a performance experiment conceived, initiated, and enforced by Esther Neff. On February 15, 2018 we drove from Panoply Performance Lab in Brooklyn, NY to M.A.R.S.H (Materializing & Activating Radical Social Habitus) in St. Louis, MO. We lived, worked, and ate together under strict and extreme circumstances, and then performed actions that were devised through collective manipulation to "materialize participant's structural realities" at The New Genre Art Festival at Living Arts Tulsa. ​ ​ ​ Kaia Gilje & Adriana Disman carry a sheet of dry wall up a staircase at M.A.R.S.H. (Materializing & Activating Radical Social Habitus) in St. Louis, MO. Photo: Nina Isabelle

  • HiLo Catskill / Nina A. Isabelle

    HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... Nina Isabelle Opening at HiLo CATSKILL, NY ​ MAY 2017 Nina Isabelle, with her signature gusto, will be presenting an evening of intrigue, education, and hullabaloo. Arm wrestling, The Overconfident Autodidact (performed by Erik Hokanson,) a tea party performance by Valerie Sharp, a public interview with the questioner another performance artist (Matthew Gioia,) and two documentary screenings- The Eucharist Machine and Time Travel Research Documentary.. Nina Isabelle's installation will be at HiLo from now until June 5. It can be viewed M-F 7am-2pm and Sat & Sun 9am - 4pm until May 3rd after which time the hours will be M-Tu 7-2, W-Th 7 -4, Fri 7am-12am, Sat 7-12am, Sun 9am - 10pm

  • EXPERIMENTAL ARCHERY | nina-isabelle


  • F.A.G at OLD GLENFORD CHURCH | nina-isabelle

    HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... FEMINIST ART GROUP (F.A.G) HURLEY, NY ​ SEPTEMBER 1-4, 2017 ​ ​ THE OLD GLENFORD CHURCH STUDIO IV Castellanos, Amanda Hunt, Miette, Anya Liftig, Elizabeth Lamb, Jodie Lyn Kee Chow, Lorene Baboushian, Valerie Sharp, Kate Hamberger, Linda Montano, Ernest Goodmaw, Jennifer Zackin, Clara Diamond, Nina Isabelle ​

  • TEN THOUSAND OBJECTIVES | nina-isabelle

    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) ​

  • THE BODY DESCRIBES ITSELF | nina-isabelle

    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 ​

  • REMARKABLE NEW LOCATIONS | nina-isabelle

    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.

  • WE CAN'T TELL WHAT WE'RE DOING | nina-isabelle

    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.

  • VOICES & CHOICES | nina-isabelle

    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... ILLUMINATING INTANGIBLES Performance by Nina Isabelle & Amelia Iaia at Para\\el Performance Space in Brooklyn, NY on March 23, 2019 English fails at describing the location of abstractions in relation to the human body. Identifying such things is challenging and understanding our proximities to both physical and abstract structures or concepts is a murky smudge in our perceptive fields and abilities. Recognizing how perceptions transition from one "place" to another requires a deep inquiry into the question of how we arrive at sensing or knowing. Prepositions are words that describe the location of things in relation to other things. The English language has more than a million words to describe subjects and objects yet only 150 prepositions. Prepositions are useful for describing the location of physical objects yet fail when put up against or in combination with abstract subjects. Amelia and I generated a random list of prepositions paired with abstract nouns and verbs and came up with one-hundred-and-fifty phrases that we used to produce an audio arrangement. We constructed interactive objects of materials consisting of various textures, densities, and transparency for our performance. We came up with a set of gestures that we felt illustrated the concept as a way to illuminate the intangibleness of our language and perception situation.

  • YARD WORK / Nina A. Isabelle




  • NEW SITUATIONS | nina-isabelle

    HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... NEW SITUATIONS ​ Arranging matter in space is a way to build new situations. June 11, 2018 ​

  • UNITY AT THE LACE MILL | nina-isabelle

    HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... UNITY THE LACE MILL ​ KINGSTON, NY MAY 6, 2017 ​ The UNITY show is a partnership of artists from along the Cornell Street corridor — the Shirt Factory, Pajama Factory, Brush Factory, Cornell Street Studios and The Lace Mill — whose works will be exhibited at The Lace Mill’s East Gallery and West Gallery, 165 Cornell Street, Kingston. The show’s opening reception will be held Saturday, May 6 from 5 p.m. to 8 p.m. Disciplines include painting, sculpture, ceramics, performance, installation, music, and dance, video, puppetry for kids, and sonic meditation. Artwork, like Election Night March 2017 by Leslie Bender, at right will be featured. A closing reception the following on Saturday, May 13 from 5:30 p.m. to 8 p.m., features live performance-based art such as dance, video and music. Inspired by the newly launched Midtown Arts District (MAD) last year, Lace Mill community arts liaison Sarah Carlson and Shirt Factory events coordinator Lisa Kelley started discussing the possibilities of joining forces to create a dynamic group show of the buildings’ artists while also supporting the mission and initiatives of MAD. Carlson explains, “I wanted to do a show that was about what we have in common, rather than what divides us, and to have that conversation as a community. It seemed sweet to open that dialogue to the arts corridor right here and a nice way for us to dialogue about what’s happening on the local national stage. As artists, that’s what we do.” Kelley adds, “I love Sarah’s idea for bringing our artists together with the theme of unity. Over the last year, the Midtown Arts District and Mike Piazza’s artist factory buildings have supported this kind of collaboration between artists. I believe we’re planting some fertile seeds for exciting partnerships in the future.” Over two dozen artists will participate in UNITY.


    HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... THE GIANT MK ULTRA MIND CONTROL RABBIT PLAYS MKUVM Duration: 14 min. 44 sec. Created February 2017 The MKUVM audio file functions as human behavior modification designed to disarm protective fear-based reality programming in order to insert dangerous encrypted emotional directives disguised as electronically modified and degraded voicemails from ex-lovers. The audio file utilizes technology developed by the CIA's MKUltra programs and experiments. ​ Tags: Electronic Harassment, Magnetoencephalography, Mind Control, Behavior Control, LSD, CIA,MK/Ultra, Physicochemical Investigations, Voicemail, Infrasound, Secure Room, Microwave Auditory Effect, Bobolocapnine, Atlanta Federal Penitentiary Prisoner Experiments, Richard Bandler Murder Trial, NLP, Neuro-linguistic Programming, Ex-Lovers, Energy Weapons, Sonic Weapons, Satan, Behavior Modification, The Manchurian Candidate, Brainwash, Backmasking, Giant MK Ultra Mind Control Rabbit This sculpture is designed to disarm protective fear-based reality program in order to insert dangerous encrypted information disguised as electronically modified and degraded voicemails from x-lovers. The sculpture utilizes technology developed by the CIA's MKUltra programs and experiments. Giant MK Ultra Mind Control Rabbit This sculpture is designed to disarm protective fear-based reality program in order to insert dangerous encrypted information disguised as electronically modified and degraded voicemails from x-lovers. The sculpture utilizes technology developed by the CIA's MKUltra programs and experiments. Giant MK Ultra Mind Control Rabbit This sculpture is designed to disarm protective fear-based reality program in order to insert dangerous encrypted information disguised as electronically modified and degraded voicemails from x-lovers. The sculpture utilizes technology developed by the CIA's MKUltra programs and experiments. Giant MK Ultra Mind Control Rabbit This sculpture is designed to disarm protective fear-based reality program in order to insert dangerous encrypted information disguised as electronically modified and degraded voicemails from x-lovers. The sculpture utilizes technology developed by the CIA's MKUltra programs and experiments.


    HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... NINA ISABELLE INTERVIEWED BY LINDA MARY MONTANO 2020 transcribed by Brian McCorkle L: We ask the angels to inspire us. So Nina, um, tell me the story of you and Sylvia and her illness. ​ N: Well she had never been sick, really. Never really been to the doctor or, I mean she'd had like a cold or a couple of fevers in her lifetime, she's 9 now. So I usually, when she would get a fever in the past, I would just, wait it out. We never really went to doctors - I would of course if it was an emergency but we never had to. In this case she had a fever on Monday morning so she stayed home from school and - I just kept taking her temperature that day and thinking that she would probably just have a regular fever and it would just be a couple of days and she would be back in school. By that night her fever was getting higher it was like 103 and 104, and the next day, at the end of the second day, her fever was 105. So I brought her to the emergency room in Kingston and they took her temperature in the waiting room and it was 105. And, they gave her some Tylenol and Motrin, which i'd been giving her at home also. When the doctor came to see her at the emergency room her fever had come down to about 102.7 - and they tested her for strep and the viruses by doing nose and throat swabs - and they sent those to the machine in the lab to determine if she had strep or any viruses - and those came back negative and they listened to her lungs and they couldn't hear anything. And they sent us home saying that she had another virus that their machine just couldn't detect and to just continue treating her with Tylenol and Motrin or Ibuprofen. I had the feeling that something was wrong and that they were missing something and I wasn't in the right mindframe to say so or speak up - it was like every time I went to form my thoughts and say something to the doctor it was like he was talking and I just couldn't figure out what I needed to say or wanted to say - it was like I had a feeling something was wrong but - I think I thought I said that having a 105 fever was pretty high for a virus. And he said "Oh, no it wasn't 105" And I was just thinking, well it just was in the waiting room with the nurses, but he was saying it wasn't. It was this weird feeling of believing him because he was a doctor but knowing that he was wrong when he said that she didn't have a fever of 105 with such authority. So, when we left I was really irritated by that whole experience. The next morning she was still not better, she was - I would look at her and she would kind of look like she was blue, and I would look again and she didn't look blue. So, there was again this feeling of, did I, am I correct in that? It was this continual process of checking in with my perceptions and not really knowing what was real, but also being a person that has experienced a lot of things that have caused me to learn to trust myself. So it was like a whole other level of that way of being. So I took her to the pediatrician that afternoon, and he, by that time she had a rash on her body and her mouth looked weird and she had been throwing up all day, not able to keep any fluid down. And he tested her again for strep and his machine said that she tested positive for strep and he said it looked like she had scarlet fever because she had a rash all over herself. And her tongue was white. So he gave her some Amoxycillin to take, and I thought "Oh, well, good, so it was something" - I knew it was something - I was feeling hopeful that this would - that she would take these antibiotics and he said they would work really quickly and that she would turn around really quickly and that scarlet fever isn't really as big of a scary deal as it sounds, and that it responds quickly to the antibiotics and she should feel better the next morning. So she still wasn't able to keep any fluid down, she was looking blue and green and really pale and really lethargic - her breathing was starting to be really rapid, and it seemed as if she in pain. She kept saying she had pain in her lung, I didn't know it was her lung then, I thought it was her stomach, where she was indicating. So, we got home and I tried to give her the antibiotic and she just threw it up, so I called the doctor and asked how long does it need to stay in her stomach until it had gotten into her system and they said "Oh it should be fine, just give her another one in the morning." So I was just sort of getting her ready to go to sleep and in the morning we would get up and she would be better, or at least starting to be better. But I had this feeling, like maybe I should take her into the hospital again because something just didn't seem right. So I kept going back and forth with that thought, "just wait until morning she'll be better" and "no you should take her in again." But then also we've already been to two doctors and they'd sent us home and it just seemed ridiculous to go to a third emergency room after hours. And I didn't want to go back to the Kingston Hospital because they already missed the fact that she had strep and sent us home and said she had nothing wrong with her. ​ I was really on the fence about going back to the hospital - I just felt like they were going to say "oh nothing's wrong - go home and wait it out" - but I think this is the scariest part of it is that I almost didn't go to the hospital. I decided to go to Poughkeepsie, which is a half an hour drive, but I knew it was a better hospital, and by the time we got there there was all kinds of Christmas traffic because it was night, it was December 16th or 17th. She wasn't able to walk or move, and she had turned blue, we pulled into the parking lot - I didn't know if I should call 911 but I was in the hospital parking lot so I just hoisted her onto my back and fireman carried her from the parking garage to the hospital. It was dark and windy and everything was vacant, it seemed like there were no street lamps. It just seemed really like, time slowed down, like I was carrying this near-lifeless child through this parking lot towards this light of the entrance of the hospital. And I went in the front entrance and they said "This isn't the Emergency Room it's around the other side of the building." So I just quickly turned around and started running as fast as I could with her on my back. And we had to traverse the side of this giant hospital in the dark, like we were going through alleyways with dumpsters, it seemed. And there was just no one around. It just seemed really unbelievable - one of those moments when time is just stretching out and you're aware of the urgency and ridiculousness of your situation. So I got into the Emergency Room door which was around the other side of the building it was a really small entrance. And they wheeled up a wheelchair behind me and I plunked her down into it and they saw that she was blue and not moving and didn't really look alive so they quickly hooked her up to a monitor and it said that her heart rate was 180 and her oxygen level was like 58 or something, really low. They kept hitting the machine saying "this can't be right - this can't be right" and a couple of them were just taking their time, trying to get the machine to be accurate. Then one nurse came rushing out and she said "The machine's fine! Get Doctor -" um, the pediatrician who was on call there, I forget his name. And they rushed her back there and they immediately gave her a shot of Venkomyacin, she'd gone septic and they didn't know, initially, what was wrong with her. They were asking all kinds of questions, had she been exposed to something. They just put her in an ambulance and I got in the front of the ambulance and we rode to Westchester Hospital, and they put her in the intensive care unit for children and we didn't know what was happening at that point. They gave her an ultrasound of her body and it showed that her left lung was full of pus. They couldn't hear that, neither the emergency room or the doctor's office could hear that for some reason when they listened to her chest, I guess because it was so full. So, they drained her lung the next morning by putting her unconscious and putting a tube in. Then she - they showed me a picture of the X-Ray and you could see her esophagus going off at a 45 degree angle from her throat, and her heart was shoved up into her left shoulder area because her lung was so full of pus that it was displacing her heart and her esophagus - it was the worst looking X-Ray I've ever seen. Like a person's body parts all in the wrong spot. It was just this feeling of time being altered and not having any control over the situation and knowing that I needed to be fine with that. L: Nina do you need to take a break right now and put your hands on your heart? And thank yourself for - just thank your heart, thank yourself, just be - gratitude. Thanking Nina. - pause - L: Can you imagine Sylvia in your arms, healed. N: Yeah, and I've recited the facts of this situation so many times and it's much different than the actual experience. L: And what's your feeling today, where are you vibrating with it today? N: I think this whole situation is sort of in another compartment, it's like frozen there for the sake of reflection or study. Because, I don't think I could go around each day actually with this memory in my - like the memory and awareness that I use in my every day life. So, it still feels kind of unreal, and as if it never happened, and also as if it was no big deal at all, and also as if it was a life-changing event. As if there was life before this and life after this. So it has - you know I don't know if it hasn't been enough time but it hasn't settled, it feels like the time that we spent in the hospital was, could have been like an entire year. It could have been 20 years ago, or 3 years ago, or yesterday. It feels like it could have been much longer or much shorter, it feels like it could have been 3 days or an entire year. The time around it and having to do with - everything having to do with this is just warped in this time and space way. L: So there's Nina the mother and there's Nina the artist-mother, and you were able to be in touch with so many people via your iPhone, the group chats. But you also, just from photos and with stories, Nina the artist really came to that situation, in terms of how you dealt with room, and the people and the doctors and the nurses and the visitors, so could you tell me about Nina the artist, in the room with your daughter? N: Yeah I thought about this a lot because I was talking with you Linda on the phone, most days we would check in and you would ask how we were doing and we kept in close touch and I - I remember, I don't know how many years ago it was, but I was talking to you about this time Sylvia and I were in the grocery store. And she was throwing a tantrum, and my cart was full of groceries, and I just had to abandon the cart and leave, these really difficult mothering moments. And you said something like "What would the mother that you would want to be - how would that mother be performing, and how could you perform as a mother in that situation?" And I remember having this huge realization when you said that, that I had a choice how I responded to Sylvia, that I could perform in that moment as a mother having a child who's having a tantrum in the grocery store. Just this realization that performance could be - that could be a coping mechanism - but it's not really a coping mechanism it's like a mechanism, so - ever since that point I've really used that performance mechanism in my mothering, because I've really had to because we wind up in so many difficult situations. And it's not performance in the way of being perfect, it's more like what is my role here and how can I embrace that role? That mechanism of awareness really creates that ability to view multiple possibilities and then choose one. And then even if that possibility that you chose isn't working out - you're still able to step out of that role, view a hundred more possibilities, and chose another one. So it gave me this really maneuverable framework for navigating mothering and life. So I already had been sort of practicing that, in a way that became very natural to my just daily way of going about, that I didn't realize until this latest hospital experience how much I rely on that mechanism as a mother and as an artist and all throughout my life, it's now something that informs my choices and my awareness about my artmaking projects, circumstances and situations I find myself in life, or if I'm envisioning and conceptualizing different possibilitie - that sort of performance mechanism that you introduced me to has really informed my approach to life, mothering, and art. So that was one of my big realizations, in this process, or in this experience. L: You're also a scientist, you know, you're a trained and practicing massage therapist - you're multi-multi leveled, multi-talented, so you have access to so many different personas, and quote characters and other voices that you can use and you really pulled out or pulled into all of them. Because I remember either reading or hearing from you that the scientist was wowing the doctors and nurses and the artist or the artist-mother was creating an installation in the room, the mother was in bed with the daughter - it was just an incredible, incredible experience for us, who knew about it online and knew about it being connected to your heart and to your heart, we all love you, and then Sylvia, and then Brian. So it was just - literally, I couldn't do anything while this was going on, I was just with you every second. I couldn't I couldn't function outside the persona of being Nina's love and Nina's friend. That was my, my practice. N: Yeah it was essential, and I can't even express the web that we all became, people coming and going, so many people were involved and connected and just wanting to help in so many ways - and helping in so many ways, that it was like - I'm not a person who's able to just sit around, and there wasn't a lot of sleeping over the 17 days but - it was Christmas and we had construction paper, we were making daisy chains and decorating the room, and the room became filled with hanging paper chains and cut-outs and it became a really exciting room that way. We were studying all the different antibiotics she was on and what their scope of treatments were - which things they would kill and which things they wouldn't. Making lists and crossing off things because the doctors couldn't really - they weren't really able to identify which bacteria had caused the lung to fill up so we were - I was trying to figure that out by processes of elimination. And that became these long long lists and learning about how antibiotics can have antagonistic effects on each other and it seemed like the two that they were giving her were canceling each other out and they would add a third one and the fever still wouldn't come down and the white blood cells would still go higher - she was on three antibiotics and it was just getting worse. So it was definitely entering science mode, definitely entering busy mode of just manipulating material with my hands non-stop, talking to people, just really being outside of myself. And I was remembering, I'd worked many years ago in search and rescue in Yosemite Valley, and there was a similar thing that happens there when there's an emergency and you just get down to doing the work. And that I remember that time shifts, time stops, and you just have - it's like everything's in slow motion. So I guess as a scientist and artist who's thinking and working with perception -in this case I'm still stuck thinking about the role of perception, I'm thinking about why we perceive certain situations - why time is warped and bent, and for what purpose, what parts of us make that happen? And how can we control that or maximize it? L: Do you think your early training as a gymnast and as a high-flying, risk-taking performer, that that internal persona allows you to confront high-flying life-art issues, in this case? All of your past actions and trainings came together. N: Yeah, I think - my Dad was a gymnast, an acrobat and a trampolinist, and so from the time I was little he would be tossing me up in the air and having me balance on his hands - we would be doing hand balancing and acrobatic things - and training me on trampoline, I would be launching myself in the air. So I was really, had this, I think maybe in a way that puts a person outside of their body, so I had this really strong sense of my physical body, and an equally strong sense of the space outside of my physical body, so it's almost like I inhabited two spaces. So, I think it created the ability to see myself from outside, which is why, Linda, when you introduced the idea of choosing roles, that was really a surprisingly simple thing - as much as I'd been able to see myself from outside my body I had never imagined this possibility of seeing that self choose - make choices. So, as much as I have this experience of being outside my body sort of naturally, I'm missing a lot of experiences that seem very natural for other people that have to do with awareness of choice. So I think it has its pluses and minuses, being disconnected - not disconnected but having a sense of the outside-the-bodiness. L: Is that because there's a level of suspension that comes from having been suspended - it's almost like an angelic timelessness, an angelic suspension. N: Yeah I don't know I've thought about this in relationship to having been a trampolinist because, I remember, when I was maybe 15 or 16 I had quit gymnastics and I just wanted to focus on trampoline. So I was learning these really complicated skills on the trampoline, one of them was a double-twisting double- backflip, which you do in succession with a bunch of other tricks. So it requires jumping up in the air and flipping around two times while you spin around two times. So it takes these really tiny muscle movements and you're going really high in the air, and it's so many tiny movements that it feels like you have a year when you're up in the air doing that trick. I can still, even to this day, feel the microscopic movements inside of my body that you need to do in order to make that trick happen. Yet, in that split second, the amount of time it takes to perform that trick, it expands and it seems like you have, maybe an entire minute or five minutes or something. So, we used to use video cameras to record ourselves and you could see this, just this human going up in the air and spinning around really quickly and then landing. And when you slow motion the thing down you can see: "Oh, my elbow was sticking out, I need to pull my elbow in" - you just saw these really microscopic things that you needed to do with your body, like just tuck your chin in a quarter of an inch or something. So, I thought about this when I was studying body work, and I forget which practioner was talking about people who'd been in car accidents, where their body comes to a direct halt. They've been speeding, and then the physical body comes to a quick halt, that the etheric or energy body continues to move past the car, and outside of their body, and their energy body didn't come to a halt, it just kept kind of gliding into the space in front of them. So, I thought about my experience as a trampolinist and this high-impact kind of jumping, this being-in- the-air, maybe that was happening. We wouldn't call it "traumatic experience" because you were choosing to do it and you didn't usually get hurt but it caused this similar thing to the "outside body" that maybe happens when people are in car crashes or other high-impact injuries or something. It's just a perception of time being weird and altered. And the perception of the body, the physical body and the outer bodies. L: So, it's almost like three personas, I'm sure there are more, there's Nina the artist, with all kinds of things happening in that room: the stars and paper cut- outs, and iPad games, and there's Nina the scientist, which you are also, who's doing all of this medical research, there's Nina the partner with Brian as collaborator, and there's Nina the Mother. There's no which one is second, third fourth, and I'm sure there's more, there's Nina the spiritual seeker. So there's these five to seven, to twenty-faceted - there's Nina the daughter, who's relating to parents what's going on, Nina the communicator. It's this multi-faceted opera of care and love, that is unbelievably fertile, rich, and applaudable. What would be your advice to other mothers, to other fathers, to other others in this situation? What - it's a teaching, what you did, is a teaching, it's a course, you could study what you did for years! What all you went through. What do you think people studying what you did will come away with or learn, or need to learn? N: The first thing that I kept telling other mothers when I would see them is just, "Go to the doctor, don't try to ride it out, it doesn't matter." I have so many friends, myself included, we try to avoid going to the doctor, because maybe it's expensive, or we don't trust them, or something. The first lesson, practical and the lesson that can save the most lives potentially is just go to the Doctor. It doesn't matter if you're wrong, just keep going. If you know that something is wrong don't trust them, just keep going to the Emergency Room over and over and over if you have to. I think that's the most urgent, pressing message that I found myself wanting to tell my other Mom friends. I think I'll probably be more inclined to go to the doctor all the time now. Also, from being involved in athletics we were trained to never go to the doctor, you know. So it was sort of overriding this programming I'd had my entire life that the body is invincible and it can heal itself no matter what, you never need to go to the doctor - that's the most practical advice. And probably I think - I don't know, there were times when I was thinking "I don't know how I'm doing this, I don't know how I'm not falling over or screaming or having an anxiety attack or being really scared or crying." I don't know how all of those things didn't happen, other than to say it was thanks to this performative mechanism that allowed me to really be present with what was happening and to realize I was in control of my anxiety and my fear, and that those sorts of responses wouldn't have any impact on the outcome. So, that sort of awareness and logical thinking kind of let me off the hook. "Oh, I don't need to have anxiety, I can see how that's not useful." L: As a practicing artist, you mention four or five things: screaming, anxiety, et cetera. Do you feel that the coming-down-from-the-suspension, or from twirling or twisting, from being put into the air of this situation; do you feel that those are things you'll be dealing with in your work, or in therapy, or that you will scream in your house when you're alone in your house, or do you feel that these kind of detrituses and these left overs, this material, do you have any idea how you'll be using the material? N: Yeah, I feel like it's probably not ready to come out, like it's sitting, solidifying a little more, I think when it comes out, then, it's going to be really directed, and that might show up in having - I mean I know this from going through things like this in the past that it gives me this ability to be really clear in my impulses and my choices and my instincts. To recognize when an institnctive notion is occurring and to direct it really quickly and not question myself. So, I think maybe all of these sort of difficult experiences in my life are continually fortifying that mechanism of choice-making and embracing and owning decisions and actions. Where there's not really a lot of - it's been training me to function in this way that's just sort of following impulse, but also the impulses have been correct in a lot of ways. Or it's like they're getting to be better, they're not always the most useful or beneficial thing, but it's like honing that mechanism, to where I feel like, eventually, a person, if they keep going through stuff like this for their whole life, might be able to direct that process really effectively. L: And you said persons going through this, I'm kind of thinking, like my brother's a surgeon, and my niece is a pediatrician and an internist: I'm thinking medically right now, and, you had 17 days of really being in close proximity with the medical, more than that, close proximity with people in the medical world. What did you learn from them? N: They have these slogans, like "We operate on Occam's Razor!" L: What was that? N: "Our protocol is developed based on Occam's Razor!" The most likely scenario is the most probable, is probably it, or something. "All of our decisions are informed by protocol, we don't-" they don't use, if they have a hunch or a notion, they have to bend their protocol to sort of force a way for their instinct, whereas operating as an artist I might have an instinct or a notion and I might have to force some sort of rules or material, physical material, to suit my notion. So I could see - just, that they have this kind of comfort with fencing themselves in with this, because it's like life or death, when you're on the fence and making a decision like this about whether a child lives or dies, you can't, as a human, be like, making a quick instinctive decision. Because you're not going to be 100% correct. So they have to put these parameters in place so that they're not accidentally killing children. L: What does that look like? N: They're working with something that's more important I guess, it's not more important, but it's much different than "Oh I'm going to make a sculpture and the welds didn't hold" or "I had the welder set on 4" or something, it's like "Oh I made a mistake" but it's not like somebody's going to live or die because I chose the wrong color or, you know, my seams didn't hold, or someone disagreed with what I was doing, or one of those things like, as an artist, being misunderstood, like worst case scenario you do a project, no one understands it, everyone misunderstands it, it fails, or something, it's like "So fucking what" there's no children who just died so it doesn't really matter, so that's sort of liberating. L: It makes us glad to be artists? N: I guess so, not to say that it's just frivolous, I think we're all searching for real useful ways of going about that translate to how to live life effectively, and that can save lives. L: I always felt that I wanted the same level of integrity as my brother had when he was doing surgery on a child. I wanted that same brilliance, that same, integrity again, that same attention, that same, care, that same, knowledge. Because that's a level to aim for, and that's a level that I could feel in a family member and want to emulate. N: Yeah it's probably great if we have that level of care and awareness in everything we do in our lives, and I agree. Because even, I guess on the surface it doesn't seem like anybody lives or dies based on any of my successes or failures with all of my art projects, but they're, they're little spirit ideas, little spirit babies or something. So it's, I mean, I guess it would just be, if we were to decide that human spirit, human beings were different or more important than idea-babies or spirit- babies. It's probably not true that there's a hierarchy and one is more important than the other. L: But the endurance that you participated in with your daughter and with your partner, Brian, and your ex-husband being there also in the picture, has, was an invitation to the next level of excellence. Because there's a graduation from the heart, our hearts, our hearts expand from these life endurances. And then it's like the art, the art will, the art will benefit. Or the life will benefit. N: Yeah, and that's really sticking with me, more and more, as I know you, and am influenced by you. There really is no difference between my life projects and my art projects, and that they both deserve equal levels of integrity. L: How is your relationship with Sylvia altered, changed, moved into or out of, or... what's new, what's old, what's? N: Well, I've made a point of, I have my observations of she and I's relationship, and I've tried to be really clear in not articulating her experience as my experience, or my observation of her experience may not be correct. So I, kind of refrain from imposing my observation of her experience, and what it might be. I witnessed her working with certain things in this circumstance, being confronted with things she had no choice over. Kids are given a lot of encouragement in this era, lately, that they have choice, and that they have choices about their bodies and what things they say are okay and what things are not okay. That they need to make good choices and use their voice, and make these choices. So she's been raised that way, except in this case, she was put in a position where she didn't have any choice, they had to take blood when they had to, and they had to do stuff to her, she didn't choose, and she didn't want to. And so it was difficult for me to watch that sort of reckoning and realize, we've been wanting to give our kids this, idealized notion that they have choice and autonomy and their body is theirs, and it's all great and well-meaning things, except in a case like this, you also have to be able to give over, to give over control of the things that you can control, and to know the difference - the ability to know, when you don't have a choice, and the ability to be okay. So she's 9, and she hasn't had many experiences like that, so watching her, have a crash course in that, is one things that I noticed, as far as she and I's relationship, that's a tough one to speak about. We're still so connected, that we sort of have an understanding of each other and our relationship to each other that's unlanguageable. Just, feeling and knowing each other in a way that is still really instinctive and connected in some, sphere that doesn't have language. And then also experiencing the stuff that does have language, just being really tired of whining, and all of the regular mother things, like really needing her to do what you're asking her to do, and being really tired, with those regular sorts of parenting things. L: The ability - what would you say to mothers about honesty? What I've observed in your relationship with Sylvia, in general, you have a rule that being honest and forthright and saying the truth, no matter how truthful or puzzling or upsetting or shocking it might be, never stops you, and so in a way that really helped, because I could see that some people might not have been as able to be truthful in the circumstance you were in - to talk about blood and guts, and sickness and life, in front of your daughter and also - anyway, I think you're very brave. And would you recommend - how would you get other people to be as brave as you? And is that from being suspended in the air? N: I don't know. L: Why are you so brave and how can you teach that bravery? N: I don't know because, brave, I might have just learned it, you know, parenting, you learn a little bit of it from the way your parents raised you, and some of that is good and bad. I mean, my Dad was kind of a fearless person and he talked a lot about violence and fighting and blood, so a lot of his speaking was really straight forward and graphic and, he had been in a lot of fist fights and he was kind of a rough and tumble person, and his father was - he had a lot of experiences growing up in a tough area where he, found a finger, this guy jumped him and he punched him and just kept punching him, and so, I just grew up with these - I kind of question it now. That is a defense mechanism, I think, to speak about bloody and graphic things with such ease, it's partly conditioned, I don't think it's great, because as I've gotten older and I've gotten more respect for the body, I think that's, not such a healthy response, to be so vocally graphic about things that are so important. But that's how he was, and my family is still kind of like that, so I don't know, I guess the other thing is being disinhibited, which could be from head injuries, or it might just be a way or being that I am, I can't really not say what I'm thinking, and I never think it - I think it benefits everybody involved to know the most information, and if everyone said what they were thinking, I think everyone would appreciate that. L: Ra, ra! Applause for all that, fabulous, thank you for mentoring that. And I'm sure those nurses were applauding you, and doctors. N: Yeah, maybe doctors and nurses are used to that, sort of, speaking. L: How did the animus of Brian's presence, who actually has a lot of anima in him, how did you feel, he supported you, and how would you recommend, future people who would be in a similar situation to ask for the kind of support you got from him? N: I mean, he was just continually there, there wasn't a question of whether he would be there for us, he just was, and that was really comforting. The feeling of, I didn't even have to ask, there was no resentment, it was just, straight up, unconditional help and support. Neither of us, I mean we were tired, but that wasn't even an issue. So I think, just having another person there was really great, and really gave me a lot of stability and comfort. And Sylvia too, he was able to, a lot of times, defuse things that were happening, then he would pick up, and start reading books to her and stuff. I guess, just having the ability to collapse a little bit and know that somebody else was going to be there. L: If you were to interview Nina right now, what would you ask her, about this experience? N: I would ask her, how is she going to be, how is she going to be better the next time this happens? What is the thing to carry and learn, the next thing? I don't even know if there's a way to answer that because it will just evolve over time. Or, how will she, I wonder if these spheres of reality will, over time, converge? And how would she know if that has happened and what would it matter? L: What does converge mean, to you? N: I guess the experience is kind of fragmented from my awareness, I notice when I start to retell the facts of this experience, that they're kept in another compartment of my awareness that's really far from the awareness I use to go around in my daily life. I wonder if there will come a point when the distance between those two modes of functioning becomes closer. L: What does she say to Nina? N: She would say, "Why does that matter? Between those things. Why are you fascinated with where things are, the location of perceptions? Why do you care so much about wanting to know where things are and how they get from one place to another?" L: I could answer that. N: You could? L: I am Nina, and I am up in the air! My dance threw me up in the air, and I don't know where in the name of God I am! I'm twisting, I'm turning, I'm trampolining and I'm jumping, and I'm up and I'm turning around and I'm falling down - I don't know where I am, and the distance, relations, so that's - N: Right, that makes sense, thanks Linda. ​ L: My God! My God! Oh my God, where am I? What's the relation to the next - I'm an angel, flying. ​ N: Hm, good point. ​ L: So, Nina says to all parents [long pause] You talked about money today, before we began, it was so beautiful, and you talked about bills coming to you, through her birth father, that she had insurance, it was so touching, you talked about money, because most people are just like cray-cray about, totally cray-cray. And you said, with all beauty, yeah there was one bill, about $15,000 or eighteen and then you said, I want you to close your eyes, and feel this, you said "I don't care if it was a million dollars, I don't care if I had to pay for the rest of my life, if it was a million dollars, I would pay and pay, because it was my daughter's life that was saved." And that's, that's the other Nina. That's the new Nina. ​ N: Yeah, it was a perspective shift, at the same time we were in the hospital my septic system was blowing up in my house, and, you know, before we went to the hospital that was a terrible ordeal, and, you know, I hired this plumber, it was $300, not fixed, hired another guy, $900, kind of fixed, you need another thing, it's going to be $8000. And then, that very day, "your septic needs to be rebuilt, it's $8000" - we go to the hospital. I was on the verge of caring about that, you know, and in relationship to something like this, those other things that would really just be a really big deal in a person's life, just doesn't matter. I don't know how that will happen, it just will, I don't even care, right now. We're just not using much water for now, it's fine. So then all these other things, oh we hit a deer! I had to have my car repaired, just all these other things that at other points in my life would be like "Oh this is terrible, why is all this terrible stuff happening?" And now, it's like, it's like nothing, it doesn't even matter, all this stuff that used to matter, it just doesn't. ​ L: You know I'm thinking like Castaneda's, commandment, that we keep death on our left shoulder, is so lovely, because, if, and sometimes the translation is "Oh my God! Fill-in-the-blank is going to die! And I'm so, cray-cray, about what I'm thinking about Fill-in-the-blank right now!" But, if I was looking through the lens of, they're going to die some day, how would that change my direction, my position, my being-in-the-air, my endurance ​ N: That's another one of those magical Linda-perspective-shifting mechanisms ​ L: And you did it, you did it, you had a perspective shift, you had a large shift, and a very very powerful life-death journey, endurance. ​ N: Maybe the distance between those spheres of perception I was trying to measure and locate will become evident when I go back to being comfortable and I get to this point where I start to get mad about some stupid thing like, I'm thinking of my neighbor lady was mad because we drove on her yard and it made a dent on her lawn and she was so mad. And I could just sit there while she was yelling at me thinking "wow, she cares about different things than I do." So maybe when the experience, the near-death experiences and the mundane idiocy of daily life problems like holes in your yard, when those things start to become so far apart that you can't see the near-death experience any more and you start to care about a hole in your yard or something, maybe those things could indicate distance. I don't know if that would mean, like, getting closer together or farther. I don't know. ​ L: Somehow, it all boils down to love, and the vibrational frequency of love. And, and then translating that love and death and love and fear and how to come out, how to come out of these wonderful teachings with the banner, the banner for, the flag of love. I mean I'm thinking of, in the exact same scenario, you know, [xxxxxxxxxxxxxxxxxxxxx] - this is, off record maybe. N: We'll stop here [shuts recorder off]

  • CYBORGS & GENDER | nina-isabelle

    HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... CYBORGS & GENDER August 25, 2017 A male and female robot bicker about a human woman who is climbing dangerously high up into a tree in the dark while her daughter waits below in a wolf costume. What might happen when human actions align with AI intention? The soundtrack was produced using Apple's text-to-speech system. ​ ​ Photo by Ming Liu

  • MOCK THE CHASM | nina-isabelle

    HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... MOCK THE CHASM NOVEMBER 13, 2016 ​ ART/LIFE INSTITUTE KINGSTON Mock The Chasm was performed at The Art/Life Institute Kingston during Alex Chêllet and Jaime Emerson’s November 2016 Artists In Residency Night of Performance exhibition. Inspired by the 2016 presidential election, the performance aims to inspect the spiritual illusion between God and America and how it is used to warp the space between morality and finance. Actions include worshipping a golden calf, wrestling and subduing a life-sized victim, and a self-crucifixion. ​

N I N A  A. I S A B E L L E 

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