Transit Interpretation Project (TrIP) Phase I, The Corridor Project, 10.30.2013. Post by Patrick Greene.


The Transit Interpretation Project (TrIP) begins Friday, November 1. David Moran, who has been an integral part of putting the project together will get on the bus the night before on Halloween Night, and ride from the UCF area to the Parliament House. He plans on walking back home after the bar closes. He told me that Google Maps says the walk home is 4 hours and 17 minutes long. The next day he will pass the 30 day Lynx pass to Hannah Plate who will take the 313 towards Winter Park.

Everyday in November artists, writers, urban planners, guerrilla gardners, graphic novelists, composers, fashion designers, tactical urbanists, psychogeographers and others will take the Lynx pass riding at least one route that a previous person has not taken. The participants have 30 days after they ride to give us something that we can post on the blog. It can be glimpse of a work in progress or a complete work. Most of us do not ever ride the bus or ride it very often. That’s another reason why this is important. I hear lots of passionate debates about public transit, and most of the debaters never ride or have never ridden public transit. David Moran and few others who ride the bus as their primary transportation have been very helpful as advisors.

TrIP is a part of the Corridor Project. The Corridor Project documents site specific art projects. So far all of these events have been in central Florida. Site specific art helps give context, a narrative and a sense of place. The people involved in TrIP can supply personal narratives that statistical studies usually lack, although we do have a survey for each person to fill out at the end of the day. This is partially a throwback to the days when I worked in a lab and did environmental field studies.  Some of what we had to fill out in our field notes seemed unnecessary while we were doing it, but sometimes later became a variable, for instance if there were signs of turbidity or some other abnormality in water tests, and we looked back at our notes or weather conditions that helped explain or reminded us of what was going on that day.

We will be learning as we go. The objective is to familiarize ourselves with the bus system, the area we live in and to give people a voice. After November 30th we will have finished Phase I of TrIP. We want to gather everything and see what we have, look for connections, without trying to force connections. We eventually want to cover all the routes. There are 71 daily bus routes. The goal is to take a similar look at Sunrail, and other modes of travel that do not involve driving your own car.

Florida Overtures, Undertones and Subplots Opening Reception, 7.18. 2013, Orlando Weekly, Article by Lauren Killer

We’re guessing the Cure’s Robert Smith hadn’t known about the Downtown Art District’s Third Thursday Gallery Hop after we heard how jazzed he was about Friday. Let’s just say we have every reason to love Thursdays because the third one of every month comes complete with sidewalk performers and local artists peppering the walkways between Orlando’s downtown galleries, boutiques and cafes, all of which display works from local up-and-comers, along with practiced, internationally acclaimed artists. At this Thursday’s hop, the Gallery at Avalon Island unveils its newest show, Florida Overtures, Undertones and Subplots, a multimedia collection that examines the state’s intricacies and idiosyncrasies through the eyes of 13 artists. The opening features live music from Chris Aycrigg’s quintet and libations, all nestled inside an Orlando architectural gem, the Rogers Building. But you won’t want to stay inside very long with all the hullabaloo going on in the streets. It’s Thursday; we’re in love.

Moving Forward, Orlando Weekly, 9.2.2010. Article by Richard Reep.

Never mind the early evening storms, there was a bigger-than-usual crowd at the Aug. 19 Third Thursday at CityArts Factory where several hundred people turned out to see installations by 12 local conceptual artists invited to riff on a transportation theme. Pine Street was closed to accommodate the “Connections” project by UCF graduate students Jillian Perez Dudziak, Dave Moran and Gary Seymour Jr. – a 10-foot sphere situated in the street with text messages and images projected onto it. With no indoor space large enough to display the globe, it was a one-night special, leaving the inside installations on view until Sept. 11 and well-worth an investigation.

Feeling a bit like a Fellini movie, What Moves You? combines truth and fiction with nonsequential plot twists and a pluralistic, highly personal cluster of visions that reveal a great deal about the artists as well as our community. Stephen A.G. Carey, Jessica Earley, Pat Greene, Brigan Gresh, Kyle, Derek Larson, Greg Liebowitz, Dina Mack, Brittany Metz, Kimberly D.H. Walz, Andrew White and Leslie Williams all jolt and jostle into the viewer’s mind, using the concept of movement as an excuse to make art. Tongue-in-cheek detours involve firecrackers, space travel and the police, yet sublime moments arise from interwoven, transitory and
unseen elements.

In the entryway of CityArts Factory, digital images and dry site maps take a sizeable chunk of space to display the real-life proposed SunRail stops coming to Orlando in 2013. Neither inspiring nor particularly relevant, their position and extent is daunting; if they had been curated by the artists, they might have been more interesting.

The good stuff starts as you wander farther inside and find Metz’s fantasy world of larger-than-life transportation toys, colorfully set inside a blackened room. Outside, Walz’s minimalist platform of flashing lights, sounds and clocks conjure a rehearsal for a train experience. In counterpoint are Carey’s in-your-face sculptures; his manipulations of consumerist debris read coldly against the artist Kyle’s (no last name) warm, texturally soft quilted railroad maps. Carey’s tall “Transient” figure appears in an open, antiseptic white coat revealing a “skeleton” fashioned from clear plastic bottles and toys that bear a glittery, empty hollowness.

In the former classroom area sits another of Kyle’s contributions, an unexpectedly feminine interpretation of a homeless campsite that is endearingly soft and inviting, a departure from his previous studies of catastrophes. His “Unsafe at Any Speed” is a haphazard, chaotic homage to Ralph Nader’s great 1960s exposé of the auto industry. On the other side of the room, in hilarious contrast, Greene’s video of a 1960s parked car, vehicles whizzing by, serves as a tribute to a family story about his father and a stolen car. The video is planted, so to speak, in a bed made of real sod and asphalt. Kyle and Greene’s projects communicate together, making this atmospheric room one of the best in the show.

Across the hall, Mack and Larson command the interior of the room, while Liebowitz’s “Orlando Bike Kitchen Project” occupies the space by the window. The collection of bike frames have a muscular, robust aesthetic completely at odds with Mack’s delicate, intimate “Transplant,” for which she uprooted small plants and juxtaposed them against a wall with an unbound diary to reveal incremental aspects of time. Mack’s sensibility tends toward the tiny, the temporary and the thin, yet her work carries great strength in its simplicity and the humanity that reads through it. Larson’s odd woodworks titled “Interweaving Reasons” involve a wildly rotating turntable under a mirror, slapping a poor sprig of grass around. His area reads at different scales, capturing space and suggesting motion and patterns. The overall effect in this room is like the imaginable friction between Emily Dickinson and Marcel Duchamp trapped in a grease bay and would be less troubling if the bikes had their own visual territory.

Entering the back suite, Williams’ “Fast Supper” shows a frog devouring mice fashioned from black Mary Jane shoes. Shrine-like and a bit hasty looking, the best part is the frog’s curiously misshapen teeth. Earley’s “Step This Way” comprises a pair of dramatic videos; crude cardboard space ships cover dual projectors, while the grainy mock-promotional footage subversively takes us on an inner journey while suggesting the escapism of travel to the moon will cure one’s anxious ills. The emotional experience is an inauspicious setup, its gritty nature in contrast to the highly refined work next door.

“Ridership” and “Perambulation” by Brigan Gresh and Drew White, respectively, bring it home. Designed separately, the pieces flow together seamlessly. These ritual works involve movement of hospital trolleys, escalators and a portly man walking slowly. All the elements evoke emotions intensified by the obstacles between the door and the giant Blu-ray screen. Gresh’s railroad spikes set in hay and suspended brass telephone bells direct you to small destinations – a tiny school bus here, a tiny compass there. In the sure hands of this husband-and-wife team, the viewer is rewarded with a coherent, compelling installation that has Gresh’s and White’s trademark contemplative, somewhat ominous texture.

With a growing collective résumé, these artists took chances, and despite some unfortunate physical contrasts, What Moves You? works. Hopefully other galleries in town will catch up with their vision.

Going off the Rails, Orlando Weekly, 8.19.2010. Article by Lindy T. Shepherd.

Where does a journey begin and end?

For each of the artists showing work in this week’s Third Thursday opening at City Arts Factory, that question has a different answer. The show features installations by 15 local “deep thinkers,” including Andrew White, Brigan Gresh, Dina Mack, Kyle, Patrick Greene and Kimberly DH Walz. The artists were invited to create work using transportation as a theme and given four weeks to come up with something for the show.

It’s an unusual show because galleries in Orlando tend to avoid installation art. It eats up too much space, doesn’t sell very well and is labor intensive. Plus, for many viewers, conceptual art looks weird. The goal of the artist is to convey an idea without creating a traditional art object, so it’s up to the viewer to translate the assemblage for parts to get the artist’s message. In other words, it takes work.

But CityArts Factory was approached by a group of master’s students from the University of Central Florida’s Digital Media and Studio Art program. They had a tricked-out 10-foot sphere they had made for a class project and wanted to show it off. The giant ball, called “Connections,” lights up with projected images and videos. According to an artists’ statement from its creators, Dave Moran, Jillian Perez Dudziak and Gary Seymour Jr., it was made to “promote awareness about how the mobility of a community transforms the land and its people.” The sphere was the seed for What Moves You?

Leah Buchy, events organizer for CityArts Factory, says she had a hole in her August exhibition schedule so she consulted with some friends in the arts community; the show rolled out pretty organically from there. Kimberly DH Walz, a conceptual artist and part of the RS 21 art collective, put her in touch with some conceptual-arts comrades, both oldsters and newcomers. Jennifer Quigley, a powerhouse at Downtown Arts District Inc., which operates CityArts Factory, pushed the transportation theme and gained support for the show from the city of Orlando, the Downtown Development Board, MetroPlan Orlando, SunRail, High Speed Rail and others.

During the opening, Pine Street along the south side of CityArts Factory will be cordoned off and “Connections” will be situated outside as a beacon to draw people into the exhibit. The gallery will stay open until 11 p.m. that evening, two hours later than its usual closing time.

Two of the artists exhibiting in What Moves You, Kyle and Greene, will share a gallery in the show. Kyle, a teacher and former resident artist at Maitland Art Center, says his contribution, “Unsafe at Any Speed,” will re-create a “transient camp site” that he hopes will make viewers feel like they’re outdoors at night. The effect, he says, should be “a little spooky.” He says the piece is critical of the fact that Orlando – which he says is a transient place – doesn’t have light rail and “the absurdity that we are still talking about it.”

For his piece, “Memoirs From a Selective Memory – the History Lesson,” Greene delved into his past. This is the third installment in a series rooted in a family story. “My father decided to show my cousin the back roads of Florida,” he writes in his artist’s statement, “a history lesson and a way to avoid the police.” He never heard the real ending of his cousin’s tale until after his father died last year: After 13 hours of scenic joy riding, police arrested him for driving a stolen car.

Greene describes the mood of his installation as “kind of a dream state.” The only literal component of the story can be seen in a video of an abandoned car on the side of the road. There’s some “loneliness,” and “a little bit of absurdity in the construction,” he says of the work. “I do think [my father] would have appreciated it.”

Brigan Gresh and Andrew White are also sharing a gallery. Gresh and White are married, and though they work individually, there’s often crossover in their pieces.

“We start projects that we think are going to be separate,” says Gresh. “Inevitably we are drawn back to each other, sharing the space together, knowing our sensibilities are together.”

White says his piece, “Perambulation,” is a video installation “surveying movement and the often unseen emotion within it.” Gresh’s work, “Ridership,” leads viewers to a corner of the room; the goal is to make a statement on “the average quantity of passengers (‘patrons’) carried per certain time in a mode of public transit system.”

This will be the last Orlando exhibition together for Gresh and White, at least for a while. After 15 years of living in College Park, the couple is moving away. “We’ve always been about our arts community,” says Gresh, “but it doesn’t seem to want to grow. It seems to want to stay at the same size. It starts to grow and it starts to expand … and then it putters out again and it comes down to that same size again.”

The departure of White and Gresh parallels the essence of the argument for public transportation and this show: If you can’t move, you can’t grow.

 Art in Motion: SunRail-Inspired Exhibit Features UCF InstallationUCF Today8.13.2010. Article by Christine Dellert.

Viewers can text answers to the question, “What moves you?” and see their responses projected onto the sphere.

What moves you? That’s the question three UCF graduate students pose in a new interactive art installation to be featured during Orlando’s 3rd Thursday Gallery Hop next week.

The installation, dubbed “CONNECTIONS,” is a 10-foot sphere illuminated by projections of images and videos about movement. It’s inspired by recent debates over creating alternative transportation in and around Central Florida, including the SunRail commuter train and Florida High Speed Rail.

Viewers of the installation are asked to respond to the question, “What moves you?” They answer by sending text messages that are projected onto the sphere.

“We were inspired by the transformative potential of SunRail and Florida High Speed Rail to change the way Central Floridians move and engage with their communities and beyond,” says Dave Moran, one of three UCF Digital Media and Studio Art master’s students who created the installation.

Ultimately, “CONNECTIONS” aims to encourage dialogue about mobility and community design in Central Florida through art, Moran says. The commuter and high-speed rails offer alternatives to Orlando’s auto-centric community design and have the potential to improve the quality of life for Central Floridians, he added.

Moran and fellow students Jillian Perez Dudziak and Gary Seymour Jr. created “CONNECTIONS” as part of a semester-long class project with Digital Media Associate Professor Phil Peters, and they began showcasing the exhibit at local cafes and markets in April.

“The students were tasked with creating an innovative, interactive installation about our environment,” Peters said. “This project is unique in the way that it engages the community to celebrate the relationship between art and urban policy and planning.”

The installation will continue to engage viewers beyond the classroom when “CONNECTIONS” is featured at Orlando’s Downtown Arts District 3rd Thursday Gallery Hop on Aug. 19.

The hop officially starts at 6 p.m. Moran says “CONNECTIONS” will be on display from 8 to 11 p.m. outside the CityArts Factory, located at 29 S. Orange Ave.

Third Thursday is a monthly event that invites attendees to celebrate art and culture during a “hop” through galleries, restaurants and boutiques in Orlando’s Downtown Arts District. The students’ art inspired this month’s theme, which explores the relationship between art and transportation through a series of installations and pieces designed by local artists.

“We were thrilled when the UCF students approached us to host ‘CONNECTIONS’ and were inspired by their energy and ideas,” said Shanon Larimer, executive director of the Downtown Arts District. “Our installation exhibition allows Central Floridians and visitors alike to consider all of their alternatives to travel and how they impact their wallets, conveniences, environment and the overall economy.”

The Downtown Development Board, the City of Orlando and Metroplan Orlando joined UCF and the CityArts Factory in supporting this month’s 3rd Thursday event. Airstar America donated the sphere used in the installation.

To learn more about “CONNECTIONS,” visit, or become a fan of “CONNECTIONS” on Facebook.

Live Active Cultures, Orlando Weekly, 4.21.2010. Article by Seth Kubersky.

No. 3 – Have some tea: I like nothing better than good tea. It’s hard to imagine what I’ll do when I can’t afford my soothing pot of herbal goodness. But when I stopped by Dandelion Communitea Café late Thursday, I got an eyeful with my cupful. UCF Digital Media graduate students Jillian Perez Dudziak, David Moran and Gary Seymour Jr. had set up their multimedia project Connections behind the teahouse. The installation involves an inflatable white sphere onto which 360 degrees of video was digitally projected. Gusty winds kept the balloon from its full 10-foot potential (a flaw they hoped to fix by the Audubon Park Community Market on Monday night), but I was still impressed how it replicated the essence of Universal’s expensive “Cinesphere Spectacular” show on a shoestring.

Thanks to custom code, the transportation-themed video loop was overlaid with live texts sent from attendees answering the question “What moves you?” The answers I saw probably weren’t what sponsor SunRail had in mind, but the technology has a ton of potential.

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