1. Panderer (Seventeen Seconds), 2016
Single-Channel Video

In the alarmingly short artwork, Panderer (Seventeen Seconds), I directly address the audience while a counter displays the passing seconds. Using a self-reflexive format, I humorously call attention to the average amount of time viewers spend with an artwork in museums—seventeen seconds. While video art relies on the dimension of time as a critical component for the delivery of its meaning, this artwork conforms to the unrealistic needs of the “average viewer”—a logical but absurd move that effectively lampoons our impractical expectations of the art experience.


2. Performance Excerpts (3-minutes)
Excerpts from Gary Setzer: Work at MOCA Tucson (December 2015), featuring work from three different series:
The Verisimilitude Platitudes (2015 - present)
The Black Tongue Lexicon (2014 - 2015)
Supralingual / Sublingual: The Tongue is the Terrain (2010 - 2015)

Integrating performance art, video art, and live sound, the works from these series address the tenuous relationship we have with language in our attempts to relay our experiences of the world—a classic apples-for-oranges quandary. I parallel our immersion in the landscape with our immersion in language, portraying the mouth as a space of both lofty construction, and great discomfort. From here, I merge electronic music and process-oriented performance art to deliver a hybrid spectacle that is as intellectually engaging as it is humorous.

I use the division between the geosphere and the atmosphere as a stand-in for the division between language and meaning, undertaking Sisyphean tasks at the seam between the two. The audience experiences two incarnations of me simultaneously—a live version and a projected version—and each seeks to characterize and dramatize sides of the mind/body split. In some passages of the performance, my projected self embodies the character in Étienne-Jules Marey's 1884 photograph, Man in Black Suit with White Stripes Down Arms and Legs, Walking in Front of a Black Wall. Others depict a character in orange coveralls, ambiguously connoting both a convict and a construction worker. Every aspect of the project is metaphor-laden, relating to our roles as users of language.


3. Seasick Paraphrase, 2017
From the series: The Verisimilitude Platitudes
Video Still

A recent addition to the body of works described above. Floating in the ocean in a small raft, I repetitively fill my mouth with small rubber balls until it reaches full capacity and I gag them back into the boat.


4. Break Bones in the Silence, 2017
From the series: The Verisimilitude Platitudes
Video Still

A recent addition to the body of works described above. I stand in a field, facing away from the viewer, hurling large colorful letters at the landscape until the pile is exhausted.

5. Mesopotamia Megalomania, 2015
From the series: The Verisimilitude Platitudes
Video Still

In Mesopotamia Megalomania, I run to and from a small mound of earth in the landscape, packing my mouth full of it with each cycle. Referencing the Mesopotamian River Valley, and how those fertile valley grounds ultimately gave birth to civilization—here I attempt to pack my mouth with culture (soil) to portray the conflicting notions of both burden and nourishment associated with the production of meaning.