The At Any Given Moment series explores issues of perception, specifically our relationship to technologically mediated nature. In At Any Given Moment, Grass 2, the repetitive rhythm, tight cropping, and large-scale image emphasize the work’s particular organizational logic in time and space.
At Any Given Moment, Fall 1 is an architectural scale video art installation consisting of video projection and sound. Duration: Continuous loop. Size: Variable; site specific.
At Any Given Moment, Fall 2 is an architectural scale video art installation consisting of video projection, 4 tons of lava rocks, gravel and sand, and sound. Duration: Continuous loop. Size: Variable; site specific.
At Any Given Moment, River 1 is an architectural scale video art installation consisting of video projection and sound. Duration: Continuous loop. Size: Variable; site specific.
At Any Given Moment, River 2 is an architectural scale video art installation consisting of video projection and sound. Duration: Continuous loop. Size: Variable; site specific.
At Any Given Moment, Grass 1, is one in a series of video art installations filmed in Iceland between 2006 and 2008. The At Any Given Moment series explores issues of perception, specifically our relationship to technologically mediated nature. In At Any Given Moment, Grass 1, the repetitive rhythm, tight cropping, and large-scale image emphasize the work’s particular organizational logic in time and space.
At Any Given Moment, River and Fall is an architectural video art installation consisting of three recent works from Méndez’s ongoing series At Any Given Moment: At Any Given Moment, River #1; At Any Given Moment, River #2; and At Any Given Moment, Fall #1. These works explore issues of perception, specifically our relationship to technologically mediated nature.
Never Happened Again is a series of single-channel video artworks shot with a Bolex 16mm film camera in Iceland and Los Angeles between 2006 and 2009. Méndez’s interests in issues of perception expand into the perception of light by the apparatus—16mm Camera—and that of the celluloid.
Never Happened Again is a series of single-channel video artworks shot with a Bolex 16mm film camera in Iceland and Los Angeles between 2006 and 2009. Méndez’s interests in issues of perception expand into the perception of light by the apparatus—16mm Camera—and that of the celluloid.
Never Happened Again is a series of single-channel video artworks shot with a Bolex 16mm film camera in Iceland and Los Angeles between 2006 and 2009. Méndez’s interests in issues of perception expand into the perception of light by the apparatus—16mm Camera—and that of the celluloid.
Never Happened Again is a series of single-channel video artworks shot with a Bolex 16mm film camera in Iceland and Los Angeles between 2006 and 2009. Méndez’s interests in issues of perception expand into the perception of light by the apparatus—16mm Camera—and that of the celluloid.
New photographic series where I visit ‘natural landscape tourist sites,’ find the most photographed point of view of the site, and hastily snap a 360° view of the landscape. Jump back in my car and drive to the next natural landscape tourist location. My interest in this series is to explore how cultures express themselves through the style of nature they produce at a given era.
Recurrence Relation # 1 is a video art installation, where the tenuous image of a male figure emerges from a dense fog. He walks towards the viewer, even at times looks straight onto the viewer, then continues beyond the viewer. The landscape of the barren tundra sits still as birds fly by or land. Seconds later, the figure emerges again, to repeat the same pathway, endlessly.
Weatherscapes is an artwork series exploring the relationship of the weather and the landscape as it relates to human scale. Weather—fog, lightning, rain, ice, clouds—inhabits the otherwise vast abstract space between the body and the distant horizon. Weatherscapes capture a more compact environment, one that the body can engage with physically, creating a continuous and intimate ensemble between the body, the weather and the landscape.
Here Over There is a photographic series of straight-on portraits of hotel beds that began on the island of Chiloe, Chile, on December 23, 2002 and continues to this date. Working in a documentary style, so neutral in emotional values that is almost anthropological, I photograph the beds I sleep on during my travels with consistent parameters—the image is taken as soon as I awake, on the first morning of my stay, with the available light, with a hand held camera, and from the same point of view—my height.
There Is No There, 2009. Triptych. Each panel: 20h x 13.33w. Archival inkjet print, plexiglass, white silkscreen ink. There Is No There, a visual and verbal loop, structured as a triptych to emphasize the organizational logic of both the photograph and of language. The work attempts to affirm the existence of something and, at the same time, to negate its position in time and space. It focuses on issues of ambiguity and indetermination.
About to Happen_consists of isolated single still frames of her 16mm film shoot throughout Iceland. In _Dettifoss 001, Méndez captures an instant of Europe’s largest waterfall—500 cubic metres per second, and in Brekka 001, a moment of giant rye grass being forcefully blown by the wind.
Rebeca Méndez was commissioned by the Los Angeles County Arts Commission to create an art installation for the Los Angeles County Registrar-Recorder/County Clerk warehouse in Santa Fe Springs, Los Angeles County, CA. Reviewed by The Los Angeles Times
Thom Mayne and his firm Morphosis designed a 353,000 sq. ft. student recreation center on the campus at the University of Cincinnati, which opened on May, 2006. Rebeca Méndez was commissioned to create six murals measuring 9 by 20 feet each to be suspended from the ceiling at the convenience store of the Rec Center…
Thom Mayne and his firm Morphosis designed a 353,000 sq. ft. student recreation center on the campus at the University of Cincinnati, which opened on May, 2006. Rebeca Méndez was commissioned to create a public art installation on four cone-like structures, two of them reaching over 50 feet high and piercing through the roof….
Rebeca is working on a new photographic series called Altiplano documenting landscapes in the Altiplano in Chile, 5000 meters above sea level.
This project was created in response to the invasion of Iraq. 06.06.06: PETROLEUM: Nymex Crude Future ($71.65/bbl); Reported Killed by the Military Intervention in Iraq: 42,646 Civilians and 2,476 US Military. Missing or Captured: 17,869. Wounded in Action: 17,869. Journalists Killed: 97.
‘Méndez, in her Homeland series, explores a sense of ambivalence—while her panoramic images allude to the sublime in nature, they simultaneously reveal their synthetic process of construction. Incorporated in each landscape is a short line of text capturing a sensation, memory, or experience triggered by the landscape, including references to sustenance—for example, the words ‘till the last tree’ over an image of cows grazing.
Homeland # 2, (Series), 2006: Homeland, Peace White; Homeland, Low Green; Homeland, Guarded Blue; Homeland, Elevated Yellow; Homeland, High Orange; Homeland, Severe Red. Materials: Lightjet print, plexiglass, anodized aluminum. 40×15 x 15 inches each. Exhibited at Second Natures, 10.12 – 11.18.2006 at Eli and Edyth Broad Art Center, Los Angeles and at HAAZ Gallery in Istanbul, 11.2006.
Rebeca Méndez joined Morphosis Architects as Design | Media Arts consultant for the Lincoln Center Harmony Atrium in New York City. Méndez developed a master plan for the development, and created a series of concepts for media art installations. Although we were one of the two finalists for the project, the job was awarded to architects Billie Tsien and Tod Williams. The following text, written by Anne Marie Burke or Morphosis, is an excerpt from our presentation to the Harmony Atrium board.
Visual identity design and mural and video installations for the Tsunami Asian Grill Restaurant in the Venetian Casino in Las Vegas
This is a love letter sent to Adam in 1996 when he was living in Amsterdam and I in California. We communicated via email, yet the disembodied language of e-mail and a double distance, not only physically but most importantly a distance in time, woke a desperate and silent attempt of making the writing machine into a sensual machine…
