Archive | Participants


What are you working on now and how does the piece in Conflux relate?

Right now I’m working on a few projects, but the immediate one is “Rec-elections” which are site-specific performances, which question Conservative Presidential advertising strategies, which weaponize nostalgia as a political tool of manipulation. In Conservative advertising you find a lot of references to the past, always with an eye looking back. I recently returned from the Republican National Convention in Tampa, FL where I appropriated their strategy by using historical campaign posters from past elections, such as from Romney’s father campaign when he ran in 1968. I performed in protest marches and rallies by utilizing the historical campaign posters and handing them out to fellow protesters. “Rec-elections” is similar to my project “Get Lost!” which will be part of Conflux in that they both utilize history as tool to question the present, and both open up a space to envision alternate possibilities.

What interests you in working in public space? What are some of the challenges you face making public work?

My interest in public space is that first and foremost it is “public”, something we all share, and have the ability to contribute to. Public space is more, and more becoming a contested site, and as a site of contention I find it something to question and push back against. And finally public space is a place we all have access to regardless of wealth, social status, race, religion, sex, etc. there are no social barriers which exclude an audience, I find this very appealing in making socially conscious work. As for challenges, I think the biggest challenge of working in public space is the variable of not knowing what can happen in public, you really can’t plan every aspect of a project in public space. I’ve come to embrace this variable of chance, and found that amazing things can happen that weren’t even thought of.

Any great adventures you’ve been on recently?

I was recently at the Republican National Convention in Tampa, FL. It wan an intense week spent in a legalized police state. Protests and marches were allowed, but only during sanctioned times, and places, all of which were blocks away from the actual convention where the actual target audience was. It was a marginalizing experience. Not sure if it was great, but it was definitely an adventure.

Check out more here: @dabejar



Any great adventures you’ve been on recently?

For Iron Maiden Artist Tours this past spring, I worked with the artist Sean Fader to make the Guided Blind Dates tour. It was an incredible experience that began with a date with two gay men playing bocce in the lawn of a museum mansion in Pelham Bay Park at 10:00 am, and ended at midnight in Coney Island after taking the Cyclone on its 85th birthday with a straight couple. The logistics of planning seven dates for various combinations of seven people throughout the day and four boroughs were mind scrambling, but amazingly everything went pretty much according to plan. And several people went on second dates afterwards! That wasn’t even in the cards of our plans, so we were pretty pleased with that. This project has opened the city up to me in ways I could never have imagined. And I’ve worked with some great artists, too.

What are you working on now and how does the piece in Conflux relate?

I’m planning the 2013 spring season of Iron Maiden Artist Tours, which I hope to make more accessible to a broader range of audience. And I’m working on a performance in November in which this persona I’ve created—Naomi Miller, Public Intellectual—will be interviewed in front of an audience. A cast of four others and myself will rotate through the two roles (NM and interviewer), exploring how and who creates such a persona and showing how anyone can don one. I’ve found that any idea I work on eventually becomes something involving collaboration, asking others for input on some random idea that’s been in my head for a few years.

Anything else you’d like to share about your recent work or involvement in Conflux?

I was circumspect about showing documentation of Iron Maiden Artists Tours. It could be so easy to dismiss or not engage with a few photos and some text. So I thought I’d solve that by making the tour office and being the tour agent, exhorting visitors to learn more about the project, its artists, the tours, and experiences. And it’s super aligned with reality because I have to sell these tours every season and it’s a challenge!

Hear Naomi speak at the Conflux Festival on Sunday, October 21 at 2pm. She will also have a booth set up all weekend at the Festival Site to discuss her project further!


Check out more :, @hotfruitcompote

Off-Site Project: Gravity Ace On The Move

This project by LD and Ro Lawrence is going to be happening concurrently with the Festival this weekend — here’s a sneak peek! More information about how to participate in this off-site project is available at and will also be available during Ro Lawrence’s presentation at the Festival itself — 1:50pm on Saturday October 20th.

LD Lawrence + Ro Lawrence
Gravity Ace On The Move: Sign Transport Report Sequence
On Sunday Oct. 21 beginning at noon in various locations from Whitehall St, along the South Street Viaduct and the East River Bikeway to the South Street Seaport, inviting white shapes appear. Upon closer inspection people discover that they are not painted tags, but rather thin sheets held to the metal surfaces by magnetic attraction. The small QR code on the back of each piece directs to a webpage inviting anyone to move the shapes about, and encouraging people to transport them to a distant magnetic surface and send a geo-tagged photo to the project website.  Once every two months for one year the shapes will be renewed at the original installation site. In this way 7 generations of magnetic shapes will be launched into transport at this site during the year. Gravity Ace On The Move is the first collaborative project of sibling team Ld and Ro Lawrence, with a bit of help from NJ Lawrence, their 80-year-old mother, as these three artists find themselves together in their native New York for the first time in 50 years.


What are you working on now and how does the piece in Conflux relate? Recently, I’ve been writing a lot of music. Or rather, I’ve been using musical structures to listen to data that I’ve gathered as I move about the city. I’m interested in how we understand data and what its relationship is to actual embodied experience. That’s a theme that’s definitely reflected in the Joyride piece; a mobile phone, an individual, LA, Google, and this list of lat/longs dance around each other leaving traces but never quite coalescing into a definitive story. I’m hoping sound and performance might be another way to play in the middle of all that, especially in regard to how we relate to time and our daily rhythms. I’m also hoping to further develop the OpenPaths platform to facilitate other artists who work with geolocation.

What interests you in working in public space? what are some of the challenges you face making public work? My work involves things that move — spatially, temporally, and through those liminal zones between public and private activity. What kinds of politics do you create with those movements? What role does serendipity play? Can you ‘compose’ and ‘interpret’ your everyday behavior? How is it represented, and how do those representations work recursively to create behavior? Questions like these are experiments that take place with the world and which inevitably comprise the process and challenges of a subject that doesn’t sit still.

Any great adventures you’ve been on recently? I’m spending most of my time now in Providence, after having NYC as a base for 14 years. That is an adventure! It’s a whole new set of rhythms to wake up to.

Check out more here: @h0use


What are you working on now and how does the piece in Conflux relate?

Free Bouncy Rides started in 2009 as an independent, public performance. In retrospect, it used spectacle and repetition to achieve notoriety through word of mouth and blog coverage. Most of my performance work that followed did the same. Now in 2012 it was time for a change. Wolfie, my current project, rejected spectacle even though it is also a masked, outlandish character. It did this by denying my audience any pictures or videos of the project whatsoever and denying traditional press/blog “ride-a-long” coverage which before had been the traditional dispersion of my work. I’ve only provided an eye witness written account. Why? Because I’m interested in how my audience can fill in the blanks with their imagination rather than being spoon-fed a brightly colored image. Will they follow? Will they imagine? Is the project still compelling? Will the blogs who loved my spectacles in the past, love my non-spectacle? So far, the answer is no. After over a month of Wolfie, I have concluded that without spectacle, Wolfie gets no press even though it is the same type of project I have always done just without a picture or video! Even a close artist friend last night, when asked how he would have done Wolfie differently, described a character who is all spectacle.

Check out more here:, @nateXhill