Water Stories is the result of a year-long Artist-in-Residence at the Anchorage Museum. This work brings together youth and community voices to share what water means in their life. Poets Erin Hollowell and Jen Stever share work generated in collaboration with Wollensak's residency. The work includes a museum facade video installation, live poetry readings with audio-reactive video, and digital audio composition available at the museum and soundcloud for listening. Water Stories is in collaboration with programmer Bridget Baird, and sound artist Brett Terry, and funded by VIA Arts Foundation.
Inspired by the history of Anglo expedition to find the Northwest Passage and an “open” Polar Sea, Open Waters is a multi work interactive installation that examines 21C realities of environmental and geopolitical change, in connection with the melting of the ice cap at the North Pole. Open Waters is an interdisciplinary collaboration with programmer Bridget Baird, sound artist Brett Terry, and poet Judith Goldman.
Ice Core Modulations is an interdisciplinary collaboration involving electronic generative art and simultaneous live performance. In each unique enactment, a visual artist, a poet, a computer scientist, and a composer engage with collectively developed processes for exploring and creatively interpreting the climate data on the Earth’s atmosphere from ancient through contemporary times, collected from Antarctic ice core samples. A collaboration with programmer Bridget Baird, sound artist Brett Terry, and poet Judith Goldman.
The changing state of melting, or fusion, is a physical process that results in the phase transition of a substance from a solid to a liquid. This body of work is inspired by the ephemeral moment of the state of transition, exploring shifting, transitional landscapes and the attempt of marking place.
Supported by IASPIS and presented in the Göteborg International Biennial, this multimedia installation explored place through a large format satellite map and prints, GPS technology, MP3 audio files, and a website. In collaboration with sound artist Brett Terry.
Memory Markers was a public art installation and part of the Contemporary Art Biennial Mâtres des Lieux in Saint-Lô, France. This community-based project explored public/private place-based narratives and recorded GPS walks realized in large-format city signs.
Through the lens of creative writing, Reading the Wrack Lines looks a local anthropogenic processes of climate change. This project engaged our local community by amplifying voices through text-based generative video projections and soft sculptural forms, fostering climate awareness.
Water Series explore landscape with processes of paper marbling and overprint screenprinting. Inspired by "HOME GROUND Language for an American Landscape" edited by Barry Lopez, these works reference the rich terminology of geologic formations found in North America through expressive visual form.
Global Positioning Series #4 used DGPS technology to track my walks in Banff, Canada as part of a 4-month Banff Art Centre Residency. Based on a 6-hour hike on Sulpher Mountain, this animation explores precise DGPS tracking as digital movement with aerial photographs.
I was an artist in residence at the Rockefeller Foundation’s Study and Conference Center in Bellagio, Italy. This site project employed GPS, sound and video. The Rockefeller grounds have centuries-old gardens as well as fortifications on the north side of the property. I collected GPS data, sound and video footage from the Villa, the village, and the nearby hamlets. The work included GPS drawings from a daily log book and excerpts from video and digitally printed collage work.
Public Gestures/Private Paths examines the use of GPS technologies to create community-generated site-specific artwork of Lorient, France resulting in mappings/drawings. The dissemination of this work makes visible new ways of reading place both public/private and the characteristics and nuances of the local area. The project explores global and local conditions of visualizing place and landscape, and its territory through technology, surveillance and accessibility.
This work explored Weir Farm's landscape and grounds through digital video processing as a personal interpretation of the site’s landscape. Throughout a series of visits at different stages of the year, I collected site data with a GPS receiver, a digital recorder, video and photography.