james coupe By installing up to six high-definition cameras positioned throughout Decker Gallery, Seattle-based artist James Coupe’s artwork plays with the idea of public surveillance. His films are edited to place strangers, virtually, into intimate situations. Commissioned for Under Cover, the work uses cameras and a software program to identify and tag video footage with the age and gender of people in it. A single channel video projection shows an intimate film generated from the footage captured by the robotic cameras, making it an interactive piece. In a previous iteration of this work, The Lover, the film’s theme centers on a fictional character played and created by a husband to enliven a marriage’s sex life. www.jamescoupe.com


jen davis Webcam, a series of photographs by Brooklyn-based Jen Davis, comments on relationships in physical and virtual life, which can be parallel to each other or completely dissimilar. Webcam documents a fictional, web-based relationship between the artist and “Alexi,” a character that Davis constructs as an avatar for her relationship. Over the course of three months the fictional relationship evolves from friends to lovers, imitating the progression of an actual real-world relationship, despite the fact that “Alexi” never sees the artist. The photographs fixate on the false sense of intimacy created in the virtual world that attempts to mask feelings of loneliness and isolation. www.jendavisphoto.com


picture-8 Vin Grabill is a Maryland-based artist who creates video collages that express the movement of both television stills and crowded streets juxtaposed with images of nature. In Grabill’s piece, Frontier, window frame structures central in the frame slowly move, allowing for different visual collages to be seen together and therefore enabling a dialogue between images of exposure and crowdedness with scenes of privacy and calm. www.vingrabill.com


nate larson The collaborative work of MICA photography faculty member Nate Larson and New York-based artist Marni Shindelman focuses on the ever-disintegrating distance between reality and virtual culture. In their series, Geolocation, Larson and Shindelman use Internet-based statements and Global Positioning System (GPS) technology from Twitter to locate the physical places where Twitter messages have been sent. They then capture the location through a photograph and use the original text of the Twitter post to narrate the scene that results. The image is often comically ironic when juxtaposed with the original Twitter post. The dualistically personal and public nature of Twitter is made personal, where one’s physical space is exposed. www.larson-shindelman.com


mary mattingly New York City-based producer and director Kelly Loudenberg’s series of video documentaries, New Urbanism, documents artists’ efforts to blur the boundaries of public and private space in order to remind people of simple, basic necessities. Loudenberg’s piece, New Urbanism: The Waterpod, is a video documentary of a project that studied a fully self-sufficient living space, named The Waterpod, which was equipped with means for producing food, water and shelter. The film follows four artists who lived exclusively on the 30-by-100-foot barge for five months. The video documents life on the The Waterpod, which was open to the public, as it traveled around New York City’s five boroughs. New Urbanism: Tent City, another video by Loudenberg, documents the transformation of a vacant lot in New York City into a temporary village for the homeless. www.kellyloudenberg.com


MattinglyNew York-based artist Mary Mattingly comments on economic globalization and the modern nomad. The sculptural work, Wearable Portable Architecture, is engineered out of multiple costumes that combine to transform into a shelter. The costumes are insulated to maintain comfortable body temperatures and come equipped with GPS, Internet and other technologies—all powered by solar panels. They encompass, cradle and protect the body in an attempt to shield against the physical environment. By collectively creating an inhabitable shelter, they also afford private space in a world where existence is increasingly rootless and contingent. www.marymattingly.com


mcdonoughWashington, D.C.-based artist Patrick McDonough addresses American consumerism and playfully critiques the tension between art and the utilitarian object. The installation series, Awning Studies, focuses on the awning as a distinction between public and private spaces. His project, which includes a newly created piece for Under Cover, explores the functionality and relevance of awnings, imagining them migrating free into the world, unattached to buildings. By installing them in trees, over the water and on a combination of steel and clear acrylic supports, he questions to what extent these decorative structures provide a clear distinction between public and private space. www.pkmcdonough.com


anne percoco New Jersey-based artist Anne Percoco creates utilitarian objects that meet the basic needs of people in communities around the globe who have been affected by unfortunate living conditions, such as extreme poverty, lack of shelter and pollution. These are all results of growing populations in already dense cities. Percoco collects detritus from these areas, including water bottles, trash and candy wrappers, and then uses them to create shelters and forms of transportation. These constructions, such as the piece, Indra’s Cloud—Keshi Ghat, are meant to help people better flourish in environments where community, shelter and privacy are changing due to overpopulation.www.annepercoco.com


keith perelli Keith Perelli explores social, political and personal issues through his paintings, prints and drawings. His painting series, Return, catalogs his personal need as a native of New Orleans to come to terms with the slow sociological and ecological recovery of the Gulf region from Hurricane Katrina. In the hours and weeks following the storm, Perelli grappled with the physically and psychologically changed landscape through quiet reflection and observation of both the local populace and the land. Through this series, Perelli attempts to express the loss of not only a physical shelter, but also a community that he had come to recognize as home. www.keithperelli.com


keith perelliNew York photographer Saul Robbins’ series, Initial Intake, exposes the private relationship and space shared between the psychotherapist and the client. The photographs are taken from the viewpoint of the patient’s chair, where one can observe intimate details of the office: balled-up tissues, raking light through the window during an afternoon session, and books waiting to be examined. In this series, Robbins publically exposes the usually protected privacy of one of the most truthful and intimate relationships. www.saulrobbins.com