Portland, Oregon | March 22-24th, 2011 (remounted at Deep FIeld Gallery July, 2012)

A video installation for a group show produced by the Liminal Performance Group. Inspiration for this video installation came while listening to audio versions of Stein’s “Plays” (featured in Doug’s sound composition) and “Matisse.” I imagined a young Gertrude abandoning the expected path of those who came before her; notions which she had to move beyond, excepting a new way of being. She opens the portal and steps through...

During the original installation, the 6 minute video loops endlessly, as does the sound, which is an hour long. The video and sound are not synchronized. Each viewing of the video will reveal a different aspect of Stein’s text.

Concept, Execution : Stephen A. Miller  Sound : Doug Theriault  Model : Lindsey Matheis



Portland, Oregon | OCT 18th, 2011

Created for an Architectural Foundation of Oregon fundraising event, this video of 154 still images created an ever-changing portrait of a static relationship.  The images changed based on custom beat detection software, serendipitously creating the narrative.  The timing of the projected slide show is dictated by live music, connecting the visuals to the auditory experience of that particular space.  For the example below, a screen capture was made of the images being driven by a Dead Weather song.


Bside6 building | Portland, Oregon | DEC, 2010 - JAN, 2011

A photographic inquiry of what it means to be alone in an empty space seeking refuge, hiding  or emerging, enticing.  Becoming one’s other self, an inner struggle...observed.

The installation featured apertures or "peep holes" left in a painted glass storefront on E. Burnside and 6th Avenue.  Light boxes were suspended inside the space aligned with the apertures.  The viewers would crouch, stretch and help each other to view each of the 14 images.  The installation changed dramatically from day to night.

a collaboration with William C. Tripp. Text by Timothy Dean Roth


"As with any other photography exhibit, one wants to take time to examine the image, to be immersed in it, to explore the beauty of the object, the texture and tone of the photograph, and its spatial and ambient dimensions. But when you’re standing on the sidewalk of East Burnside, you are not just having an inwardly private and strictly subjective moment; there is the awareness that other people on this busy intersection are observing you. You feel like someone with a magnifying glass staring at cracks in the sidewalk; the longer you linger, the more odd you look. Add to this that you’re peering into the showroom glass of a retail building, blurring the line between art and commerce, flesh in hiding and flesh as commodity."