For Immediate Release, 1996

For Immediate Release, Performance, 1996, Chicago, IL Over three days I inhabit a 'happy box' that resides in the spacious atrium of a state government office building in downtown Chicago. Located near an ATM machine, the 'happy box' dispenses cards that display terminology used in the financial sector (i.e. 'Common', 'Master', 'Fixed', 'Maturity'). Through a tiny slot, from within the box, I push them out to all comers. With support from the City of Chicago's Department of Cultural Affairs.

Padded Room / Desperado, 1997-1999

Padded Room / Desperado, Video and Installation; Single or Multi- Channel 1997-1999, 3:45 As an actor, film icon John Wayne swapped his birth name –Marion Morrison– for the trade name that would lend credence to his taming of the American West. This is a persona that enables the quest for territory in the proviso of Manifest Destiny. The idea of Wayne's 'Morrison' as a trans-gendered doppelganger allows the piece(s) to operate on multiple levels that bow to gender identity, pop culture, and the artist's identification with Wayne as he entertains the terrain of power and sexuality. Shown in numerous venues including the 2000 Biennial at the Whitney Museum of American Art. With support from the City of Chicago's Department of Cultural Affairs, and Artists Space, New York, NY

Dream, 2000

Dream, 2000, Multi-Channel Video Installation Loop, 1:48 Sexual gratification and gendered identities are the font of power, and instrument of desire, that are explored with layered images, and text playing off the song “Row, Row, Row Your Boat" that is sung in a round. Supported by the University of Wisconsin's Visiting Artist Fellowship Program

Initial Public Offering (IPO) 2001-04

Initial Public Offering (IPO), Performance, 2001-03, Minneapolis, New York City In three separate public locations in New York City and Minneapolis, I create a piece with a team of performers to arouse questions from a public accustomed to seeing lavish corporate promotions of products targeting them as consumers. The corporation 'mandymachine' passes out promotional buttons with a logo and query "Who Decides What Matters" and a product, the "Co-Dependant Suit". Funded through the University of Minnesota's Visiting Artist Program

Cake, 2004

Cake, Performance, 2004,10:00 Dixon Place at Chasama, New York, NY Using the life of Marie Antoinette as a springboard, I work with a group of performers, to create a short work with a monologue that is a take-off on the personal travails of France's last royal consort. She opines within a giant cake (that is served in slices to the audience) as a spoiled bourgeoisie suburbanite done in by her scheming servants. Set design by Matthias Neumann

Potential Partners, 2001-2006

Potential Partners, Documentary Feature, 2001-2006, 52:00 A feature length documentary that explores the hearts and minds of single men and women of varying ages, experiences and attitudes on the subject of relationships, sex, fantasy and intimacy, through the lens of influential cinematic images. Shown in film/video festivals throughout the U.S. and Canada. With support from: The New York Foundation for the Arts and Cuts' N Burns Residency Program, Brooklyn, NY

Sleep, Flag, Play, Forest with Blue Sky Project, 2008

Sleep, Flag, Play and Forest Videos, 2008, TRT: 18:00 Working collaboratively with local youth as part of the Blue Sky Project we generate a series of intimate performative video pieces that examine specific spaces, flout contextual protocols and make nuanced references to ritual, violence, mainstream media and cultural myth. Supported through the Blue Sky Project Residency Program, Illinois/Ohio

Arcosanti, 2009-(Work-in-Progress)

Arcosanti, 4-channel Video, 2009-(work-in-progress) 12:00 A performative work generated with video from the architectural site located in Arizona. Founded as a sustainable community in the 1960’s by visionary architect Paulo Soleri, Arcosanti is Utopian in concept, though, largely a relic of its counter-culture context. While, it's premise of agricultural production and a larger community– have yet to be fully realized, its unusual architecture and environmental initiatives speak to contemporary concerns. Supported through the Wexner Center’s Artist Technical Residency Program, Columbus OH

Playing Defense with NYCArts Cypher 2010-11

Playing Defense with NYCArts Cypher, Video and Performance, 2010-11, 7:00 A collaborative effort with the youth break-dance collective NYC Arts Cypher. In it, we challenge the setting of a military fortress by pitting the freedom of break-dance against the discipline of military life. The video was shot at Fort Jay on Governor's Island, a national park and a historical landmark. Formerly this was one of several military fortresses that defended New York Harbor's commercial interests for the United States. The piece will be presented at different venues throughout New York City's five boroughs in 2011. With funding from The Council on the Arts & Humanities of Staten Island

Sum of the… 2009-Present

Ubiquitous digital technology captures shifting impressions of the world allowing for the manipulation of both its content and meaning. In this context, the body exists as a mutable sign amidst numerous physical and symbolic images; with the ability to be ruthlessly and relentlessly dissected and reinterpreted.

100 Days, 2014

A spoken word and percussion performance, was initially conceived to capture the elliptical nature of daily thought and language, from a diverse range of perspectives. Ever since Roosevelt pioneered the 100-day concept taking office during the Great Depression, it has been used by the U.S. media, and scholars as a gauge of political success and activism. In the lives of ordinary people however, the number is often an arbitrary timeframe that can demarcate incremental changes in the flow of daily life or a dramatic shift in one's personal landscape through unforeseen events.

In early 2014, I planned this performance to include local (Staten Island, NY) residents to be presented in a prominent community space. Select participants, including myself, were given a notebook with 100 pages in which to capture an observation for each day that passed over a three + month period. Then, in late July, Eric Garner's death occurred within blocks of the performance location; a historic WPA, New York City Parks building. This event and those, that followed, shifted the initial idea for the performance to that of experiences based on the participants' personal lives.

The first incarnation of the performance, included seven participants and was presented on December 7, 2014. Through interwoven narratives, this version illuminates a range of insights taking into account a specific timeframe (often tumultuous) from each participant's life, as a point of reference.

Links to video documentation:

100 Days (TRT: 30:00)

100 Days (10:00 Excerpt)

Performance Participants: Mandy Morrison (Director), Gabriella Dennery (Percussion), Lori Green, John Foxell, Terry Bennett, Angelo Angeles, Rachel Carson