The title of the installation, Densely Wooded and Precipitous Mountain, was taken from an illustrated map of the Battle of Greenbrier River (1861). The images on the prints are digitally isolated from maps of military campaigns conducted on American soil. Included in the prints are both natural features and man-made structures, landmarks isolated from context and mired in the resulting ambiguity. The trees, trenches, and stone walls are bound to unspecified places and events; they become disowned from record and are abandoned as stalled moments that drag behind the normal progression of time. The animation (projected on the floor) is mute but rhythmically evocative, bleeding color frantically for just over a minute before resigning to black. It counters the small prints in scale and exuberance, performing within the confines of its own temporal lag. The video abruptly repeats itself and struggles to push the same frozen scene (a photo of a marsh a coastal plantation) into sustained movement and development, losing whatever visual meaning remained (after recording the animation playing on a computer screen with a cell phone) through the repetition of the images. The animation's seemingly desperate flailing undermines the stillness of the prints while remaining equally stagnant.
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