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DANIEL PHILLIPS
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ARTISTS EXHIBITED
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MOVING IMAGE NEW YORK: DANIEL PHILLIPS
IMAGE: Daniel Phillips, Moving Image NY, 2012. HI-RES
On View: March 8 — March 11, 2012
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Waterfront New York Tunnel
269 11th Avenue
Between 27th and 28th Streets
New York, NY 10001


DODGEgallery is pleased to present three video installations, River Street, by Philadelphia based artist Daniel Phillips. 



In a continuation of ideas explored at Phillips' solo exhibition at the gallery in early 2012, River Street forms part of a series of pieces, which span two years of production.



From 2010 through 2011 Phillips' studio on River Street in Hyde Park, MA, was on the site of an historic, abandoned elevator tower which was part of a largely demolished paper mill. Exposed to the elements after years of neglect, the tower stands dilapidated on the edge and in contrast, to a major commercial development. During his time there, Phillips used landscape and structure as the main sources for his studio practice. Digging, photographing, and rehabilitating the land and the inside of the old tower became rituals of manual labor.



Videos built from high-resolution photographs reflect Phillips' impressions of the site as well as document his solitary practice over the course of his two years at River Street. Vivid moving imagery of terrain and construction flicker and skip through time. Projecting his videos back onto the surfaces of the site, Phillips' layered imagery explores the tension between the alluring and yet impenetrable nature of abandoned and growing desolate spaces like River Street. Both Phillips' documentation and intervention on the site and his processes are deeply intertwined.



For Moving Image Contemporary Video Art Fair Phillips is presenting a dramatic, darkened installation of three suspended concrete screens featuring imagery created during his time at the tower. These heavily textured slabs are embedded with protruding debris - rock, concrete, roots, steel, chain, and brick all excavated from the site. Removed from their context, the front faces of the slabs appeared as ancient artifacts and are hung from industrial hoists suspended in action and time. Dimly lit, the commanding scale of these forms, function at once as revered frozen relics and floating video screens. 

A struggle to physically connect his practice with the rituals of daily labor and human activity that for centuries defined River Street pervades Phillips' work. While the projections offer a sense of energy and renewal, they pass ghost-like over fossilized, unmoving ground.