Part of the "Insula Insula" Exhibition, these prints were created using relief printing techniques with found wood pieces.
Shadow of a Doubt is a series of mono prints encased in shadow boxes with laser etched wording silently interacting on top of the elements of these compositions. Series focus on the mind’s influence in forming identity, emphasizing the organization of information both pictorial and verbal.
Work was initially exhibited within the exhibition “the Self that Remains” in 2018.
2018
monoprints, laser etched glass, lighting
Series of 11” x 14” prints created with laser etching and chine colle rice paper.
Using the works from the series “Encircled by Water” these experiential prints were turned into videos to be projection mapped onto the (blank) works. Adapting a pattern from morse code, the blinks write obscured messages to the viewers of their spaces. These works, both within these videos as well as individual prints, explore the theory of “islands of memories”.
“ In amnestics with anterograde amnesia, memories of post-onset autobiographical experiences, if present at all, are typically barren and impoverished. However, there have been sporadic reports of islands of memory--memories that are vivid, detailed, and specific to time and place.”
- Maria Medved & William Hirst (2006) Islands of memory: Autobiographical remembering in amnestics, Memory, 14:3, 276-288, DOI: 10.1080/09658210500233524
Print series: 2016
Video Series: 2020
Series of time-based works exploring “Black and White” thinking and the influence of environment on the longevity of such thoughts.
This is only Temporary
2020
Time-based sculpture (inkjet photographs 12” x 18”)
Vermont snow; hand cut stencils; powdered charcoal; time
Keep it together
2020
Time-based sculptures (inkjet photographs 12” x 18”)
Vermont snow; hand cut stencils; powdered charcoal; time
“Untitled”
After the time-based works concluded the remnants were put into two 8 oz maple jars. (final images)
Sculpture
melted Vermont snow, powdered charcoal, past thoughts, maple jars
Created while in residence at Elsewhere Museum (Greensboro, NC) in June 2018.
“Walking is Still Honest was a 10-day performance where the artist adapted an exercise from a museum collection edition of Amy Vanderbilt’s Complete Book of Etiquette, by walking while balancing fine china on her head for 10 minutes. A reference to the number of days she lost from anterograde amnesia as an young adult, Burns slowly increased the number of plates on her head to 10 for the final day.
Video documentation and repaired plates from her failed, final performance are interlaced beside the communal kitchen within an installed, wavering stack of handmade, recycled, paper plates that visualize the absurdity in the standards of a “fine, ideal woman” and portrayals of self-control.”
https://www.goelsewhere.org/samantha-burns/
2018
Multi-media sculpture/performance
Piece is installed at artist’s height
Hand cast paper plates, museum collection plates, iPod, wood, paper, wax crayon.
Physical sketches of projects exploring language, normalcy, and not meeting expectations.
2020
“Stronger than that” - Endurance performance where artist pulled 375lbs box until she was able to make it budge/move/give way. In 5 minutes artist was able to move this form a total of 3” before the harness broke.
First shown at VSC open studios in January 2020
*On going project
Created in 2014. Exhibited in the 621 Annex space in Tallahassee, Florida.
Each setting is stabilized through the tension created by the taut string and wood counterbalanced by the weight of the china. Work was installed next to a train station which would cause the building to shake. Over the course of the 2 week installation, pieces of china would vibrate slightly with each passing train, losing balance, and changing their initial stability.
2014
Time-based sculptural installation
16” x 20’ x 14’
40 piece china set with silver rims and floral accent; wooden sticks held up by tension created between pink embroidery thread, 80 nails.
"Day by Day" is the start of a series of collaborative projects from artists Naghmeh Farzaneh and Samantha Burns. Cultivating interdisciplinary practices, this interactive installation is an effort to show that despite growing up in different places, having different experiences and opportunities in life, at the core we are the same; human beings. Though on the surface cultures seem so different from one another, at their deepest levels they share vital commonalities.
2016
Multi-media sculpture (installation)
5’ x 7’ x 52”
interactive viewing device; 1:33 video; 5’ x 7’ rug, chairs, string, table, chalk, string,
Exhibited at 621 Gallery (solo show) & Electronics Alive! at the Scarfone/Hart Gallery.
"Day by Day" is the start of a series of collaborative projects from artists Naghmeh Farzaneh and Samantha Burns. Cultivating interdisciplinary practices, this interactive installation is an effort to show that despite growing up in different places, having different experiences and opportunities in life, at the core we are the same; human beings. Though on the surface cultures seem so different from one another, at their deepest levels they share vital commonalities.
Pyrexial Torque is a sculpture created in Berlin while in residence at Berlin Weissensee School of Art and University of Cincinnati, Studio-based Inquiry program.
Inspired by vertigo, this sculpture examines the body mind connection in the moments where this relationship is disconnected from normal functions/homeostasis. Although the body of the sculpture is slanted at about 10 degrees, wooden shims readjust this precarious positioning and create a level head space.
2013
4’ x 4’ x 15’
Sculpture
Wood, aloe, level, shims, Berlin resident Arno’s* chairs and table,
*During time in Berlin, Burns connected with, shared and learned about Arno’s history with growing up in East Berlin during WWII.
Tangible Afterthoughts was created while in Residency at the Roundtable Residency in Toronto, Canada. Installation was meant to change over time as the flowers wilted and audience was asked to take cards if they fell on the floor.
2016
Time-Based Installation
Materials: Ikea shelves, 4"x5" monoprints, yellow acrylic, sunflowers, plaster, time,
Statement:
“ My artistic practice explores the connections that exist between our human experiences and objects that we imbue with meaning, as tokens that memorialize them. Through hybrid installations of sculpture, printmaking, and photography, I examine the role of ‘memory’ and the interaction between body and mind with regard to their recuperative responses to traumatic life events.
Like memory itself, Tangible Afterthought (2016) exists in a state of precarious fragility. Found objects are organized into an impermanent sculptural form; one that is vulnerable to the passage of time and to the surrounding environment. As is the case with the delicate balance between body and mind, the sustainability of the sculpture is dictated by continuous cooperation between its respective parts. Through Tangible Afterthought’s ephemerality, we are presented with an opportunity to appreciate the present moment and its inherent fleetingness.”
Time-Based Installation
Temporal Beings was created for exhibition at the Sarasota Art Center as part of Black Box Projects. Installed for a period of 45 days. Each of the time-based sculptures was surrounded by a stanza of Robert Frosts’ poem, “Nothing Gold Can Stay” acting as a reminder of the ephemerality of nature as well as a marker to separate the viewer from the work.
“ Nature’s first green is gold,
Her hardest hue to hold.
Her early leaf’s a flower;
But only so an hour.
Then leaf subsides to leaf.
So Eden sank to grief,
So dawn goes down to day.
Nothing gold can stay.”
2014
Time-Based Sculptural Installation
Elephant Ears, vases, staircase banister legs, written powdered charcoal, time
Work was installed is museum for 30 days. All the sculptures are composed using only each element to support and sustain its balance over the course of the exhibition.
Time-Based Sculptural Installation
2014
12’ x 12’ x 62”
Discarded bed frame posts, yellow tulips, vases, water, time,
The Self That Remains was a solo exhibition at 621 gallery in 2018. Installation consists of large wooden geometric sculptures and the print series “Shadow of a Doubt”.
The overall installation, The Self That Remains, is a series of visual moments of composure. The act of “composing” is investigated through material engagements (wood, paper, plexiglass, lighting) within a space and offers a range of perspectives depending on where the viewer is standing in relationship to the piece.
2018
wood, paper, paint, rust, lighting, mono prints