MEMORY (2016)

MATTER (2014)

SPACE (2012)

TIME (2010)

LIGHT (2008)

SOUND (2006)

CHANGE (2004)

MOVEMENT (2002)

EXPERIENCE (2000)

Amy Stacey Curtis' 3rd solo-biennial exhibit of interactive installation, CHANGE (October 9-27, 2004), was 9 participatory works installed throughout 23,000 s.f. of Brunswick, Maine's Fort Andross. Each of CHANGE's installations were accompanied by instructions, the audience challenged to perpetuate and complete Curtis' concepts in specific ways.

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shift I, 9 pedestals, miscellaneous, audience, 10.9.4-10.27.4

Invitation instructions: "Bring small personal possession with which you can part forever." Curtis placed upon each of nine pedestals a personal possession. Participants asked to choose object upon one pedestal, replace object with object brought, and to take home object removed. Hundreds of objects were given and taken. (each pedestal: 48"x12"x12")

volition II, 9 aluminum rods, red oak, audience, 10.9.4-10.27.4

Participants asked to each remove nine rods from surface (4,624 holes) and to insert rods into nine holes of their choice. (red oak: 72"x1.75"x72"; each rod: .25"x2"x.25")

inversion I, 2,916 wood cubes, 2 platforms, audience, 10.9.4-10.27.4

On left platform, Curtis installed 2,916 cubes 54x54, grain collectively pointing down. Participants asked to remove nine cubes in order from left platform, and to position cubes in order onto right platform while inverting cubes' grain. Once cubes reached right platform, installation complete. (each platform: 1"x81"x81"; each cube: 1.5"x1.5"x1.5")

modulation I, 2,304 aluminum cans and 4-color prints, audience, 10.9.4-10.27.4

As participants walked around installation, its perceived hue collectively changed from red to orange to yellow to green to blue to violet to red... (4.5"x146"x146")

modulation II, 5,184 wood half-balls (576 each of nine colors), acrylic, Fisher-Yates shuffle algorithm, audience, 10.9.4-10.27.4

Participants asked to focus upon randomly place half-balls, to focus on one color at a time, to try to isolate each color in mind so each color in turn "stood out" as color seen. (1"x75"x75"; each half-ball: .5"x1"x1")

pendulum II, 9 hollow steel balls, fishing line, hardware, audience, 10.9.4-10.27.4

Participants asked to try to swing penduli in unison. Ultimately, no matter how in-sync penduli were begun, paths varied over time. (each unit at rest: 180"x2.5"x2.5")

flux II, 432 wood balls, aluminum angle, wood, concrete, hardware, audience, 10.9.4-10.27.4

Participants each asked to remove ball from lowest point, allowing remaining balls to rhythmically shift to new positions. Participant then walked length of installation to place removed ball at highest point. (64"x12"x1092"; each ball: 2.5")

vicissitude, 81 PVC pipes, wood, acrylic, audience, 10.9.4-10.27.4

Each pipe balanced unattached on base. Participants asked not to touch. From instructions: "Everyone has effect on everything, and everything upon us, whether we have direct contact or not." (51.5"x120"x1727"; each pipe: 2.5"x120"; each base: 49"x6"x6")

forward II, 366 digital stills, NEC LT240K DLP projector, DVD-R, DVD player, rear projection fabric, insulation, wood, acrylic, magnets, hardware, audience, 10.9.4-10.27.4

Participants travelled 56-foot hall to view rear projection. For a leap year (June 21, 2003-June 20, 2004), Curtis took a photograph for each day, at same time (3pm/2pm Daylight Savings). Every 24 hours, Curtis took one step forward. (96"x36"x672")

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