Sue Slagle (stage name SUE-C) is a video and light artist currently living and working in Portland, OR. For the past 16 years she has created handmade videos and live media performances, traveling extensively in Europe and the USA. Her works challenge the norms of photography, video, and technology by blending them all into an organic and improvisational live performance setting. Employing a variety of digital tools to create an experimental animation “instrument,” she synthesizes cinema from photographs, drawings, watercolors, hand-made papers, fabrics and miniature lighting effects.
In addition to solo performances, installations and recorded works she has collaborated with musicians such as Morton Subotnick, Luc Ferrari, Laetitia Sonami, Antye Greie (AGF), Golan Levin, Joshua Kit Clayton, Wobbly and Vladislav Delay at a variety of national and international venues including the SFMoMA, Yerba Buena Center for the Arts, San Francisco International Film Festival, REDCAT (Los Angeles), EMPAC (Rensselaer, NY), Ars Electronica (Linz), MUTEK (Montreal), SONAR (Barcelona), the MonkeyTown (NYC), and Activating the Medium (San Francisco). Her solo performances combine live imagery with a live soundtrack using her own voice, small sound effects devices and assorted electronic instruments.
About her work:
Art Kit Puncture is a live, non-narrative handmade that unfolds in two parts:
Part 1. An edit of Gordon Matta Clark’s “Conical Intersect” is projected via a micro-projector onto different surfaces within the performance area (wood, metal , paper). This projected image is then captured by the main camera, processed in my custom video software (using Max/MSP/Jitter) and then re-projected to the big projector. This modulated image of a building being artfully deconstructed is at times clear but more often obscured and abstracted by the textures of the objects it is being projected onto – a sense of mystery and discovery moves the viewer along a filmic trajectory.
Part 2. Objects and photographs are manipulated under the main camera using backlighting and small LED flashlights. This feed is also processed in the software environment where a series of video delays and mathematical combinations lead the audience through a choreographed dance of abstract image and sound. The imagery mimics the conical intersection achieved by Matta Clark using physical masking techniques and moving of objects by hand.
The film asks the audience to contemplate the beauty in destruction and the hidden cinematic imagery of various things filmed from very close in. The experience is somewhat synaesthetic, part meditation, part self-discovery and perhaps philosophical. In the world of abstract imagery closely paired with sound, our brains strive for connections and they often make surprising ones.