Island Girl, by Deirdre Sargent is a new installation of videos, sculptures, and environments at Gordilloscudder opening this Saturday, March 1st from 7 to 10 pm.

Malfunctions, fires, and breakdowns have served as the climaxes for your videos in the past. A question generally remains whether these moments are liberating or futile. At times you seem enamored by the possibility of disorder and entropy, but there also appears to be some doubt whether the idea of spiritual escape might be another pre-packaged stock experience like a touristic vacation with its equally regimented ideas of "exotic" biomes.
Great escapes to Asia.

Dial our number and we'll do the rest.

Transportation is everything, maybe you should rent a car.

There are many options to choose from while traveling.
More recently the videos are becoming allegories of our media relationships. They show how images have become our primary sites for experience. Actors watch ever-present screens, demanding us to take the perspectives of others and to confront what others see and how they see it.

These screens take the form not only of TV monitors, but also aquariums, vitrines, and windows. TVs dissolve into glows with the sounds of spectacle as our only remaining indicators. While the commercial entertainment you appropriate allows only certain narratives, the "live" frames you find seem to show alternative relationships to fantasy that invite more empathy. Watching someone else's TV through their window raises the question of where spaces for fantastic projection exist, where do we live our sanctioned imaginary lives?
A few weeks ago, Gus and I were driving while a bagel wrapped in aluminum foil was resting on the dashboard of my Volvo and I said, this looks like a Deirdre video. "Push the bagel to teleport."
In these works depictions of hands and fingers, manual gestures, mimic our connection to technology. Paradoxically we grow more primitive. My relationship to electricity and technology is my finger, making the world seem alive and animistic.

A collection of standby beeps, car warnings, breaths, gasps, whistles, cooking timers, and drill sounds direct us through these worlds. They are our primitive communication with the mechanical environment. How we know what to expect and experience. Prosthetics and prophylactics like gloves, fake fingernails, Halloween alien/monster hands, paint brushes, and sticks all create new lo-fi interfaces that interrupt fluid interactions with a tech world.

The new videos shape the viewer's experience in a way that previous ones only spoke about. This is video as space or virtual reality rather than narrative.