Works at : Seoul Art Space_Geumcheon
Stays in : 2013
Website : olivetinge.com
Profile
Education
2001 BFA, Art Center College of Design, Graphic Design
1994 BFA, Pomona College, Studio Art
1996 AA, Fashion Institute of Design and Merchandising, Fashion Design
Exhibition
Exhibition
2012
Oakland Museum of California,
ongoing, currently in prototype stage,
video art direction and development, producer,
commissioned to create video projection for permanent exhibit of Natural History Gallery, reopening October 2012
2012
2012
Chinese Historical Society of America,
currently on exhibit from April 2012 – December 2012,
Design of gallery installation adapting evening length performance piece, “Passages” for which I was nominated for Isadora
Duncan Dance Award for Visual Design. “Passages” was a performance piece premiering in San Francisco in September
2010. (please refer to 2010 “Passages” performance listing below)
2012
2012
No Exit, multi-media dance performance,
directed by Christine Bonansea. Premiered July 2012, ODC Theater, San Francisco
Design of all visual media for full-length dance performance. Visual media consists of video projection on full back wall and entire floor of theater.
2012
2012
“Reflections”
edited and adapted 8- minute short film based on concept for full-length performance piece of same name, directed by Lenora Lee. I designed the visuals for the piece performance (please refer to 2011 “Reflections” performance listing below)
2011
2011
“Reflections” multi-media performance with Lenora Lee Dance,
directed by Lenora Lee. San Francisco premiere(September 2011at Counter PULSE); New York City premiere (October 2011 at John Ryan Theater) Designed and produced visual design for video projection used in performance.
2010
2010
“Passages: For Lee Ping To” multi-media installation and performance with Lenora Lee Dance.
San Francisco premiere * September 2010 at Dance Mission Theater, New York City premiere (November at John Ryan Theater) Performance directed by Lenora Lee, Installation concept by Olivia Ting. Designed video projection, sound design, and installation concept.
2009
2009
“Origins of Flight” multi-media dance performance with David Herrera Performance Company
Premiered November 2009, Mission Cultural Center, San Francisco
media designer for theater production, video projection design
2009
2009
“Diaspora Tales #2:1969” social performance in form of music with The Francis Wong Unit San Francisco, CA Oct 2009
media designer for video projection design
Award
2011
Nominee for 2012 Isadora Duncan Dance Awards
Outstanding Achievement in Visual Design for dance performance “Passages”
2012
2012
Short film “Reflections”screenedatRuoli Segreti e Ruoli Proibiti / Hidden & Forbidden Identities, an international videoart festival and photography exhibition in Venice, Italy from February 11-21 during the Carnevale. Organized by International ArtExpo, The Seven
2012
2012
Short film “Reflections” accepted for Fei Contemporary Art Center Video Project. To be screened in Shanghai, and Taipei (Bamboo Curtain Studio).
REFLECTIONS PERFORMANCE MEDIA DESIGN
REFLECTIONS SHORT FILM
editing: Olivia Ting / media special effects: Olivia Ting / videography: Ben Estabrook
PASSAGES PERFORMANCE/INSTALLATION MEDIA DESIGN
DEATH BE NOT KIND
video instalation at fund-raiser for no exit, 2009
Olivia Ting
Photocollage for me is an exploration in memory, which is never recalled with crystal documentary precision the way a photograph is perceived as a recorder of facts. I especially am attracted to light projections because the image is incorporeal; it is not on a traditionally tangible media such as paper or canvas or print. If you step into the projection, you break the image by casting your own presence into it. In translating these memory-scapes into an environment installation, the audience can enter and experience these projections as an interior of a hall of mirrors.
Critique of Olivia Ting, Cordell Bank Installation
Lisa Ellsworth (Curator)
Olivia Ting’s panoramic installation in the Gallery of California Natural Sciences at the Oakland Museum of California (OMCA) presents at first glance a video projection of an aquarium on the scale of several hundred thousand U.S. gallons. Her work is projected onto a 12-foot high by 30-foot wide curvilinear surface and incorporates raw, archival footage of marine flora and fauna. At present, the Gallery is undergoing a physical transformation that, once complete, will enable OMCA to feature semi-permanent and temporary interactive exhibits and information about the Cordell Bank National Marine Sanctuary, an underwater ecosystem west of Point Reyes, California featuring an upwelling of nutrient-rich waters and a coral-topped mountain that feeds migrating marine animals from all over the Pacific. In addition to the internal team - a curator, developers and a project manager tasked to bring the interactive exhibits to fruition - OMCA enlisted scientists, designers and artists, commissioning Ting, one can assume, for her work that combines photography, video, moving images and sound to create atmosphere and activate environments with emotional effect.
Ting says that she is interested in “the cellular possibilities of taking a unit of something, anything really, and building a new organism – just to see what it (can) become,” creating new systems out of existing ones. This fascination is manifest in her video collage taking simple imagery and replicating, layering and oscillating it, presenting it in three-dimensional environments, or in large-scale projections cast onto a single surface, activating multidimensional planes within the projection itself. Ting’s installations suggest a modicum of viewer participation and movement through the spaces she creates, and the need for physical proximity for an enhanced experience, as do Olafur Eliasson’s multisensory, elemental interventions.
Viewing Ting’s Cordell Bank installation for no more than several seconds, slow-moving ribbons of kelp appear mirrored and fade from the projection surface, enfolding symmetrically as if viewed through a kaleidoscope. A school of anchovy or smelt and a sea lion and a dolphin, and another, appear and disappear as they came. Working in digital video, Ting fractures and abstracts footage in the spirit of Jennifer Steinkamp and experimental filmmakers Stan Brakhage and Michael Snow before her. Ting’s work is not likely to draw comparisons to the light and space movement, nor does she claim painting as a reference, paint celluloid or scratch into film. She does not reach the same level of abstraction with this work either. What she does is treat the viewer to subtle and sometimes dramatic changes in exposure, dreamlike flickering and fading light, superimposed subject matter, and ephemeral moments like memories; and she uses the shape and light-bending quality of water to her constructive and aesthetic advantage. The Cordell Bank installation defies narrative, giving agency to viewers as participants moving through the environment, changing the relationship between viewer and subject, and encouraging interference with the projection by design, abstracting it further as shadows and light are cast.
Footage is pieced together rearranged, the result of which is a seamless composition of visual imagery that affords multiple perspectives. Synchronized formations of fish fall lyrically off the projected surface and the viewer is presented with a pan shot from above a blooming coral reef and simultaneously a right-pan and left-pan alongside it. Subjects pass in unnaturally slow motion, delayed in the foreground and eventually making way for expanding and collapsing jellyfish increasing in density and revealing a new strata full of bioluminescent organisms less familiar. Fish – masked, copied and pasted replications of a single image - float past flatly in two dimensions like papercuts following a track on the projected surface in a way that somehow does not distract, but rather playfully enhances and serves as a place for the eye to rest on an otherwise undulating and potentially disorienting surface. There is something absurdly humorous about these static images that whether intentional or not, pays small tribute to the 1954 film <20,000 Leagues Under the Sea>.
This visual imagery makes sense given Ting’s fascination and exploration with the application of photo collage techniques to video. The result is arresting and evocative of dreams.
