pop up lunch experience on a vacant lot in Columbus, Ohio, 2011
un-drive thru
Category: Studio
When they’re gone, they’re gone
MFA thesis project, Beeler Gallery, Columbus College of Art and Design
2012
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
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
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.