1. My daily experience of living is one of moving through multiple transpersonal fields--psychological, social, historical, interior narratives. I pass through fields of weather, rules of physics, biological states, advertising campaigns, and constant data mining--just to name a few.
    This piece, like a novel, has a plot that moves from a blissful organic state to one characterized by power and cymbals. Power is gradually countered and then overshadowed by light until the piece comes in for a quiet, dark landing--maybe in a field of bees at night set into the intimacy of a backyard.

    # vimeo.com/71199191 Uploaded 44 Plays 0 Comments
  2. The original visual footage for this video was of my own moving sculpture; the original audio was my incantatory voice repeating single words I wrote for the video. Both audio and video were degraded over and over, copied many times onto many tracks, and altered with effects until a degree of abstraction appeared that is close to language.

    The 2003 piece, A Chorus of Cells, was set into new formats, context, and color in 2013. This one seems to be about an observer set into a field that alters them both. It collapses my work and history between 2003 and 2013 into pictographic language and attempts to gather internal experience into a book that sounds and moves in time.

    # vimeo.com/71166640 Uploaded 44 Plays 0 Comments
  3. Reducing images to linguistic building blocks, or maybe some kind of genetic code, allows a different layer of narrative to become visible. I'm interested in seeing what is underneath, causal, and existing at the same time as the surfaces of the world to which we usually relate.

    # vimeo.com/46997700 Uploaded 29 Plays 0 Comments
  4. History Undone appropriates footage of a political Joseph Stalin going about his business, showing him first as a neutral historical figure. Then the video tries to reverse his actions. Finally it dissolves and sinks the ignoble butcher under waves of time.

    # vimeo.com/34190942 Uploaded 34 Plays 1 Comment


Mary Hull Webster Plus

Some of us like to intervene in the human-centered; others like to intervene in the apparent reality captured by the camera. What patterns and movements lie beneath the surfaces of "objective" reality?

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