un-drive thru

pop up lunch experience on a vacant lot in Columbus, Ohio, 2011

When they’re gone, they’re gone

MFA thesis project, Beeler Gallery, Columbus College of Art and Design

2012

Installation view

6 months of documenting the coming and goings/reclaimings by human, animal and plant communities on two abandoned lots–Value City Furniture and Consumer Square, Columbus Ohio.

Space reconstructed as a 4-channel hour-long continuous loop.

 

Courses of Action

With Liz Roberts

2016 – 2019

We have worked with a selection of how-to diagrams from a survivalist text since 2016, returning to the source material and developing different iterations of responses to it: acting out, reproducing, printing, layering. We are thinking about survival, audience, and the evolution of collaboration and trust over time.

Installation at the Growlery, San Francisco, October 2019

 

My Body Your Landscape

AKA: Strip Malls are the Plains/Lonely Like a Highway

 

January–February, 2014

Roy G Biv, Columbus, OH

Elena Harvey Collins and Liz Roberts

All images Stephen Takacs

Downward Dishwasher

2015, HD color video with sound, 00:03:16

Downward Dishwasher is comedic critique of personal wellness as a consumer good.

 

 

 

July 2015
Installation for the sunroom, an exhibition series in a private home in Cleveland Heights, Ohio. Organized by Thea Spittle

Collaboration with Liz Roberts

No Barbarians

 

Video stills

Installation images

 

 

No Barbarians

Liz Roberts, Elena Harvey Collins, 2016

5-channel video projection, 03:08

Soft Regards

An exploded diagram of a film is a good analog for this installation. The process of filmmaking—including research, screenplay writing, location scouting, set production, composing a shot—becomes invisible in the final production. In Soft Regards, the peripheral activities that go into the production of filmic space, place, and time are abstracted and extended; the play of real and unreal is centered.

An exploded diagram of a film is a good analog for this installation. The process of filmmaking—including research, screenplay writing, location scouting, set production, composing a shot—becomes invisible in the final production. In Soft Regards, the peripheral activities that go into the production of filmic space, place, and time are abstracted and extended; the play of real and unreal is centered.