Movement, Form and Meaning: The "Perpetual" series
Movement multiplied attains unfamiliar forms. Gestures repeated generate chimeras half-human, half-change-and-variation. Extracted from the frames of mid-20th Century propaganda films, B movies, educational and instructional shorts and television commercials, the figures in these works take on the wave-like coruscations of a wheat field in a late summer wind or the driving force of a factory filled with working machinery.
Previews of these loops and many more are available and updated regularly on: kasuminews.com.
Movement multiplied attains unfamiliar forms. Gestures repeated generate chimeras half-human, half-change-and-variation. Extracted from the frames of mid-20th Century propaganda films, B movies, educational and instructional shorts and television commercials, the figures in these works take on the wave-like coruscations of a wheat field in a late summer wind or the driving force of a factory filled with working machinery.
Previews of these loops and many more are available and updated regularly on: kasuminews.com.
Proserpine installed at DC Tower Vienna.
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Proserpine installed in dimensional steel frame.
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Woman in White Suit Perpetually Turn
Gallery Installation (click on image to play) 
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Men Perpetually Doing Push-ups Variation 2
Gallery Installation (click on image to play) 
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Woman in White Suit Perpetually Turn, 3 Monitor Installation
Still image from "Woman Perpetually Waving"
One single gesture reveals the range of emotion from elation through disbelief finally ending in heartbreak.
Still image from “Man Perpetually Nodding Head”
A member of the Colombian 1936 Olympic Team limbers up in the Berlin Games glorified by Leni Riefenstahl’s “Olympia,” his simple preparations transformed into the rhythmic beauty of athletic achievement combined with the emphatic expressionism of Fascist spectacle
One single gesture reveals the range of emotion from elation through disbelief finally ending in heartbreak.
Still image from “Man Perpetually Nodding Head”
A member of the Colombian 1936 Olympic Team limbers up in the Berlin Games glorified by Leni Riefenstahl’s “Olympia,” his simple preparations transformed into the rhythmic beauty of athletic achievement combined with the emphatic expressionism of Fascist spectacle
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