ARTeriors at The James

Butter Mint

Butter Mint

Since Atlantic City is the birthplace of the saltwater taffy, I decided to incorporate the most familiar color that comes to mind for me when I think about saltwater taffys stemming back to when I was a child which is the teal green colored candies. I used three different hues of this color to create the composition in the center of my installation. The outside sculptural border I chose to use the color white inspired by sea foam which was left over in David Bradley’s store on the boardwalk that was left soaking into taffys on the floor caused by a flood that was sold to a child as a joke and created the very first saltwater taffy.

Anthony ( Seper ) Torcasio

I found a flower at my feet

I found a flower at my feet

Within the confines of a warehouse space shrouded in tarps, an installation emerges, a testament to the resilience of nature and the potential for human action. A short film, captured through a child-like, first-person perspective, unfolds upon a pristine expanse of recycled seamless paper, inviting viewers to embark on a journey of discovery amidst the wonders of nature. The film's raw, handheld aesthetic, reminiscent of a childhood exploration, mirrors the unfiltered essence of human interaction with the natural world.

The projector, perched atop a weathered commercial baking rack, serves as an anchor for the installation, its worn surface reflecting the passage of time and the challenges we face. The rack, covered in dust and plastic, symbolizes the remnants of our past consumption and the need for transformation. A plastic flowering vine adorns the rack, adding a touch of artificial vitality to the scene, hinting at the potential for renewal amidst decay.

The installation's location at the back of the warehouse, tucked away beneath the tarps, underscores the delicate balance between our exploitation of nature and the need for preservation. The tarps, like a veil over the installation, create a sense of secrecy and anticipation, inviting viewers to delve into the hidden depths of our relationship with the natural world. The use of a DVD player and a projector call out the increasing speed at which technology becomes obsolete.

As viewers navigate this immersive experience, they are confronted with the paradox of our existence: our dependence on nature for sustenance and inspiration versus our relentless exploitation and destruction of its resources. The recycled seamless paper, a product of consumption and waste, serves as a stark reminder of our unsustainable practices and the need for radical change.

The weathered baking rack, the plastic flowering vine, and the hidden location within the warehouse all contribute to the installation's overall atmosphere of rawness and authenticity. They reflect the imperfections of nature and the challenges we face in our relationship with it.

Yet, amidst this rawness, there is also a glimmer of hope. The film's exploration of nature's resilience and the ambient soundscape's gentle melodies suggest that we can find a way to coexist harmoniously with the natural world. The installation serves as a call to action, urging us to move beyond mere awareness and towards meaningful action.

Lucy Sanchez

@iamluzkarolina | @lukchez | luzkarolina.com

SHIPWRECKED

SHIPWRECKED

Seas of stormy doubt crash across the shores of our self-confidence,
man vs. nature vs. man vs. self in a tempest of id and ego,
prevailing winds of cognitive dissonance
lay waste the wreckage of these uncertain seas.

Atlantic City’s Beach Rave visionaries Vizawave and Noetrope collaborate on an immersive and interactive scenescape of dynamic audio visual design and theatrical set construction, with reactive LED pixel lighting, projection mapping, and special effects that simulate the experience of a stormy shipwreck.

Dylan Toogood and Tina Notaro

@Vizawave | @noetrope | notarotina@gmail.com | vizawave@gmail.com

Garden of Sugary Delights

Garden of Sugary Delights

Sydney Mount’s “Garden of Sugary Delights” installation encompasses the bright excitement and reminiscent memories of the classic Candy-land board game while also drawing inspiration from medieval iconography. To work with the unique space of The James building, Mount incorporates a “Hell Mouth” design which is a depiction of the Gates of Hell typically shown as the gaping mouth of a monster. This installation was created with spray paint, acrylic paint, and various found objects from the original candy factory.

Sydney Mount