HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... oUT iN tHE zONE NYC ANARCHIST PERFORMANCE ART EXHIBITION #11 JUDSON MEMORIAL CHURCH, NYC MAY 12, 2017 PHOTOS BY WALTER WLODARCZYK ​ walter-wlodarczyk-2017-05-13-_87A3101 Nina A. Isabelle - Anarchist Performance Art #11 at Judson Memorial Church, NYC 2017 (photo: Walter Wlodarczyk) walter-wlodarczyk-2017-05-13-_87A3103 Nina A. Isabelle - Anarchist Performance Art #11 at Judson Memorial Church, NYC 2017 (photo: Walter Wlodarczyk) walter-wlodarczyk-2017-05-13-_87A3085 Nina A. Isabelle - Anarchist Performance Art #11 at Judson Memorial Church, NYC 2017 (photo: Walter Wlodarczyk) walter-wlodarczyk-2017-05-13-_87A3092 Nina A. Isabelle - Anarchist Performance Art #11 at Judson Memorial Church, NYC 2017 (photo: Walter Wlodarczyk) walter-wlodarczyk-2017-05-13-_87A3095 Nina A. Isabelle - Anarchist Performance Art #11 at Judson Memorial Church, NYC 2017 (photo: Walter Wlodarczyk) 18319281_318426008575701_4965584380399255762_o

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... LAUNDRY LOOPS (JOB) ​ IV SOLDIER'S F.A.G. (FEMINIST ART GROUP) PANOPLY PERFORMANCE LABORATORY ​ NOVEMBER 3, 2016 (Lorene Bouboushian, IV Castellanos, Amanda Hunt, Kaia Gilje, Nina Isabelle) Photos: Brian McCorkle LAUNDRY LOOPS // JOB // F.A.G. //PPL Laundry Loops JOB // IV Soldier's F.A.G. at Panoply Performance Laboratory November 3, 2016 Photo: Brian McCorkle LAUNDRY LOOPS // JOB // F.A.G. //PPL Laundry Loops JOB // IV Soldier's F.A.G. at Panoply Performance Laboratory November 3, 2016 Photo: Brian McCorkle LAUNDRY LOOPS // JOB // F.A.G. //PPL Laundry Loops JOB // IV Soldier's F.A.G. at Panoply Performance Laboratory November 3, 2016 Photo: Brian McCorkle LAUNDRY LOOPS // JOB // F.A.G. //PPL Laundry Loops JOB // IV Soldier's F.A.G. at Panoply Performance Laboratory November 3, 2016 Photo: Brian McCorkle LAUNDRY LOOPS // JOB // F.A.G. //PPL Laundry Loops JOB // IV Soldier's F.A.G. at Panoply Performance Laboratory November 3, 2016 Photo: Brian McCorkle LAUNDRY LOOPS // JOB // F.A.G. //PPL Laundry Loops JOB // IV Soldier's F.A.G. at Panoply Performance Laboratory November 3, 2016 Photo: Brian McCorkle LAUNDRY LOOPS // JOB // F.A.G. //PPL Laundry Loops JOB // IV Soldier's F.A.G. at Panoply Performance Laboratory November 3, 2016 Photo: Brian McCorkle LAUNDRY LOOPS // JOB // F.A.G. //PPL Laundry Loops JOB // IV Soldier's F.A.G. at Panoply Performance Laboratory November 3, 2016 Photo: Brian McCorkle LAUNDRY LOOPS // JOB // F.A.G. //PPL Laundry Loops JOB // IV Soldier's F.A.G. at Panoply Performance Laboratory November 3, 2016 Photo: Brian McCorkle LAUNDRY LOOPS // JOB // F.A.G. //PPL Laundry Loops JOB // IV Soldier's F.A.G. at Panoply Performance Laboratory November 3, 2016 Photo: Brian McCorkle LAUNDRY LOOPS // JOB // F.A.G. //PPL Laundry Loops JOB // IV Soldier's F.A.G. at Panoply Performance Laboratory November 3, 2016 Photo: Brian McCorkle LAUNDRY LOOPS // JOB // F.A.G. //PPL Laundry Loops JOB // IV Soldier's F.A.G. at Panoply Performance Laboratory November 3, 2016 Photo: Brian McCorkle LAUNDRY LOOPS // JOB // F.A.G. //PPL Laundry Loops JOB // IV Soldier's F.A.G. at Panoply Performance Laboratory November 3, 2016 Photo: Brian McCorkle LAUNDRY LOOPS // JOB // F.A.G. //PPL Laundry Loops JOB // IV Soldier's F.A.G. at Panoply Performance Laboratory November 3, 2016 Photo: Brian McCorkle LAUNDRY LOOPS // JOB // F.A.G. //PPL Laundry Loops JOB // IV Soldier's F.A.G. at Panoply Performance Laboratory November 3, 2016 Photo: Brian McCorkle LAUNDRY LOOPS // JOB // F.A.G. //PPL Laundry Loops JOB // IV Soldier's F.A.G. at Panoply Performance Laboratory November 3, 2016 Photo: Brian McCorkle LAUNDRY LOOPS // JOB // F.A.G. //PPL Laundry Loops JOB // IV Soldier's F.A.G. at Panoply Performance Laboratory November 3, 2016 Photo: Brian McCorkle LAUNDRY LOOPS // JOB // F.A.G. //PPL Laundry Loops JOB // IV Soldier's F.A.G. at Panoply Performance Laboratory November 3, 2016 Photo: Brian McCorkle 1/2

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... THE WINDMILL WEAPON MATRON MAY 2016 ​ ​ The Windmill Weapon Matron was built on May 12, 2016 and exhibited on June 3, 2016 as part of The New School's Social Justice exhibition with The Bushwick Collective. Materials include s awhorse, l umber, co nstruction m aterials, s pray p aint, h ouse p aint, a fghans, w eapons, b icycle p arts, y arn, p laster, t erra c otta, c hain. She is 90h x 53w x 45d. ​ She is a dangerous female machine expressing an active stance and aggressive posture. She no longer identifies as passive and has most recently emerged as an international threat. Based on a jumbled compilation of afghans, defunct bicycle parts, weapons, lumber, and chain her biographical narrative has been holographically reconfigured into a destructive biological machine made of woman’s time. While The Windmill Weapon Matron acknowledges her destructive approach as a natural response to her capacity for childbirth, she hesitates to dichotomize the two simply saying “Come, let me destroy you.” Utilizing a process of defiance The Windmill Weapon Matron has successfully developed a system capable of transforming eye-rolling, financial aid application trauma, stuffed animal over population, and hair pulling as well as other sensory input bull shit into a clean, renewable, and sustainable energy source for mothers. ​ ​ Nobody will lend her a chainsaw It is safe to breed with her She makes a mockery of science Her system is nervous ​ Her face is spinning When she was a virgin politicians killed and ate her She is secular Her system has calcified ​ She loves The Antichrist She birthed a female bastard She wan’t trained up the way she should go The system tries to destroy her ​ She has nothing to depart from Rabbits fear her She has been relieved of advantage Her system is unkillable ​ ​ ​ ​

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... PAINTINGS 2016 20-2016 22x30, oil paint on paper 19-2016 22x30, oil paint on paper 18-2016 22x30, oil paint on paper 17-2016 22x30, oil paint on paper 16-2016 22x30, oil paint on paper 15-2016 22x30, oil paint on paper 14-2016 22x30, oil paint on paper 13-2016 22x30, oil paint on paper 12-2016 22x30, oil paint on paper 11-2016 22x30, oil paint on paper 10-2016 22x30, oil paint on paper 9-2016 22x30, oil paint on paper 8-2016 22x30, oil paint on paper 7-2016 22x30, oil paint on paper 6-2016 22x30, oil paint on paper 5-2016 22x30, oil paint on paper 4-2016 22x30, oil paint on paper 3-2016 22x30, oil paint on paper 2-2016 22x30, oil paint on paper 1-2016 22x30, oil paint on paper 1/1

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... FEMINIST ART GROUP (F.A.G) HURLEY, NY ​ SEPTEMBER 1-4, 2017 ​ ​ THE OLD GLENFORD CHURCH STUDIO IV Castellanos, Amanda Hunt, Miette, Anya Liftig, Elizabeth Lamb, Jodie Lyn Kee Chow, Lorene Baboushian, Valerie Sharp, Kate Hamberger, Linda Montano, Ernest Goodmaw, Jennifer Zackin, Clara Diamond, Nina Isabelle ​

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HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... Nina Isabelle Opening at HiLo CATSKILL, NY ​ MAY 2017 Nina Isabelle, with her signature gusto, will be presenting an evening of intrigue, education, and hullabaloo. Arm wrestling, The Overconfident Autodidact (performed by Erik Hokanson,) a tea party performance by Valerie Sharp, a public interview with the questioner another performance artist (Matthew Gioia,) and two documentary screenings- The Eucharist Machine and Time Travel Research Documentary.. Nina Isabelle's installation will be at HiLo from now until June 5. It can be viewed M-F 7am-2pm and Sat & Sun 9am - 4pm until May 3rd after which time the hours will be M-Tu 7-2, W-Th 7 -4, Fri 7am-12am, Sat 7-12am, Sun 9am - 10pm

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... FORCE YOURSELF TO BE GOOD Panoply Performance Laboratory, Brooklyn, NY May 24, 2018 ​ Force Yourself To Be Good Nina Isabelle /Performancy Forum / Panoply Performance Lab / May 24, 2018 / Images provided by PPL Force Yourself To Be Good Nina Isabelle /Performancy Forum / Panoply Performance Lab / May 24, 2018 / Images provided by PPL Force Yourself To Be Good Nina Isabelle /Performancy Forum / Panoply Performance Lab / May 24, 2018 / Images provided by PPL Force Yourself To Be Good Nina Isabelle /Performancy Forum / Panoply Performance Lab / May 24, 2018 / Images provided by PPL Force Yourself To Be Good Nina Isabelle /Performancy Forum / Panoply Performance Lab / May 24, 2018 / Images provided by PPL IMG_9611 Nina Isabelle /Performancy Forum / Panoply Performance Lab / May 24, 2018 / Images provided by PPL Force Yourself To Be Good Nina Isabelle / /Performancy Forum / Panoply Performance Lab / May 24, 2018 / Images provided by PPL Force Yourself To Be Good Nina Isabelle /Performancy Forum / Panoply Performance Lab / May 24, 2018 / Images provided by PPL Force Yourself To Be Good Nina Isabelle /Performancy Forum / Panoply Performance Lab / May 24, 2018 / Images provided by PPL Force Yourself To Be Good Nina Isabelle /Performancy Forum / Panoply Performance Lab / May 24, 2018 / Images provided by PPL Force Yourself to be Good Nina Isabelle /Performancy Forum / Panoply Performance Lab / May 24, 2018 / Images provided by PPL Force Yourself To Be Good Nina Isabelle /Performancy Forum / Panoply Performance Lab / May 24, 2018 / Images provided by PPL

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... Aaron Pierce February 2017 ​ A: I am a graduate from Utah Valley University and I am writing a dissertation for the university's biannual Art History Symposium. The topic of discussion this year is Maximalism. I am particularly focusing on performance art as the contemporary medium that is reinventing museum spaces and engaging audiences by stimulating the senses more through music, dance, film, and painting combined. That is where your exhibit Animal Maximalism came to my attention. I am completely intrigued and enthralled by your performance art pieces and projects you have created. For this paper, I would love to have your view on performance art and Maximalism. I am interested in hearing some of your methods about performance art and Maximalism. It is rare in art history to be able to have contact with the artist, hence my excitement. If you do not mind sharing your opinion, I would like to know how you feel performance art engages audiences and pushes them to connect on a higher level to art? Also, why are we seeing a shift towards more performance art pieces in museums and galleries? I feel that audiences want to have a full sensory experience. How does Maximalist performance art achieve this better than other medium of art? ​ N: I practice a process of allowance where I let myself do what I want. This approach results in maximum data and action. By letting myself engage with an array of modalities I can generate multiple outcomes and possibilities. Because I'm not limited to any single mode of involvement, I'm free to use painting, performance, photography, or video or a mixture of modalities as I find necessary depending on my agenda and instinct. This suits my athletic, resourceful, and determined nature. ​ I approach performance art in the same way I would approach any other art modality- by paying close attention to gut instincts and psychic impressions in a process designed to override cerebral programming. The aim is always to align action with intention, and make note of the findings and outcome along the way. Performance art is a good choice when the concept I'm grappling with calls for a human body, action, or a narrative to actuate the outcome, especially literal concepts like worshiping the golden calf or using blood to cleanse things. My body can become a tool, a stand-in, or effigy of or for the viewer, creating a point of commonality to facilitate access. Aligning action with intention is also a way to re-frame ritual and an attempt to validate the effectiveness of approaches historically relegated to realms of religious structures and beliefs. I was recently invited to teach an art theory class for kids at The Hudson Valley Sudbury School. Through our discussions it emerged that the students felt most drawn to art practices and outcomes that suited the nature, mentality, and necessity of the individual artist. For instance they could relate to how Chuck Close became successful at painting faces as a result of his lifelong struggle with a facial recognition disorder. In reflecting on my personal method it occurs to me that my mode of operation is dictated by my nature, I didn't choose to function within the Maximalism approach and philosophy, it's just that the philosophy happens to align with my nature. I'm a serial over-doer of all things who relishes the opportunity to push things too far. My work is reactionary because I'm a reactionary person. For instance the first time I encountered minimalism I was ready to explode in a thousand directions. And, as an art student I couldn't help but challenge typical art professor's slogans such as "You have to know when to stop." Of course I could recognized the academically dictated stopping point but I would never in a million years stop there. I've always felt that learning how to challenge, push, or destroy something is a valid study when handled respectfully and with intention. ​ Performance art is an another mode of operating for artists to use in order to find or generate new information, to experiment with creating new experiences, or to try to express something they otherwise couldn't. It can engage the viewer in an intimate way offering the potential to build powerful experiences as it facilitates a space that can involve and include the viewer in a novel physical or psychic way. It's possible that since performance art inhabits walking space where gallery-goers would otherwise be moving about, a psychic connection is created by sharing the same space. As viewers, we know less about what it would be like to hang motionless on a wall. Performance art offers a platform for artists to practice aligning action with intention, a way to possibly re-frame ritual and to build experimental new models for of control or power to replace outmoded religious structures and beliefs. But also, It's possible the performance art trend might be a way for artists to backhandedly confront consumerism and elitism simultaneously, or at least to create the illusion of doing so. Commercial galleries and academic environments can be market driven or exclusive, but performance art has the ability to dissolve those traditional notions and to expand viewership by engaging broader mentalities in a way that would be difficult for strictly visual work focused on heady concepts or dollar amounts. And since we live in a culture of visual bombardment, where viewer's digitally conditioned eyes and minds are increasingly savvy, and in conjunction with consumer programming, we need something that can function both inside of and outside of commercial gallery and academic paradigms. There is a literal dissolution of boundaries. Since performance art is impervious to ownership and commodification, it pushes against market-driven capitalist structures and challenges a system where finances determine success. Issues of marketability, ownership, or commodity all come into play because its difficult to financially capitalize off of performance art. So, maybe it's like most trends- timely and culturally necessity. ​ I developed the Animal Maximalism exhibition concept as a way to bombard the human sensory input manifold with the intention of revealing cloaked information. I use the word "Animal" as an homage to instinct. For me academia operated through reversal, fueling my defiance more than refining me the way school is supposed to, so part of my mission has always been to build legitimate framework for us animals, one that is less cage-like, and Maximalism is a good framework for that agenda. I try to work within and build upon systems that already exist that might reflect and support my authentic nature, and to allow my work to reflect and be a response to the full spectrum of my body's biologic manifestation of its own history within its cultural environment. Maximalism feels like science-fiction, in that it offers the potential for system building where the inward personal landscape can travel all the way outward through the giant jumbled experience of collective household, community, country, and planetary psychic connections. Maybe performance offers an easier access point to the viewer in that we can all relate to each other as humans who are human shaped and have human form. We all share common ways of moving our human forms through space. It's possible that performance could function to create a portal, like a way out or a way in.

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... CAVE GIRL ​ FAKE PHOTO DOCUMENTATION OF PROFESSIONAL NON-PERFORMANCE BASED PERFORMANCE All information including location, artist, photographer, subject, process, object, intention, dimensions, medium, duration, software, hardware, is unimportant and disallowed. ​ JULY 9, 2017 Documentation #1 Location, artist, photographer, title subject, and intention are undisclosed and unimportant. Documentation #2 Location, artist, photographer, title subject, and intention are undisclosed and unimportant. Documentation #3 Location, artist, photographer, title subject, and intention are undisclosed and unimportant. Documentation #4 Location, artist, photographer, title subject, and intention are undisclosed and unimportant. Documentation #5 Location, artist, photographer, title subject, and intention are undisclosed and unimportant. Documentation #6 Location, artist, photographer, title subject, and intention are undisclosed and unimportant. Documentation #7 Location, artist, photographer, title subject, and intention are undisclosed and unimportant. Documentation #8 Location, artist, photographer, title subject, and intention are undisclosed and unimportant. Documentation #9 Location, artist, photographer, title subject, and intention are undisclosed and unimportant.

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... EXPERIMENTAL ARCHERY & MARKMAKING WORKSHOP ​ @ ​ R O S E K I L L June 10, 2017

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HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... ART/LIFE KINGSTON CLARA DIAMOND & NINA ISABELLE 2016

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... BEAST CONJURING at Paul McMahon's MOTHERSHIP Woodstock, NY January 16-21, 2018 On January 21, 2018 performers at Paul McMahon's Mothership in Woodstock, NY work to conjure the sea beast from the book of Revelation. Nina Isabelle at The Mothership The Beast at Mothership Lorene Bouboushian, Nina Isabelle, Brian McCorkle, Linda Mary Montano, Ever Peacock, Miles Pflanz, and Jennifer Zackin. Photo by Amelia Iaia Miles Pflanz at The Mothership The Beast at Mothership Lorene Bouboushian, Nina Isabelle, Brian McCorkle, Linda Mary Montano, Ever Peacock, Miles Pflanz, and Jennifer Zackin. Photo by Amelia Iaia Linda Mary Montano The Beast at Mothership Lorene Bouboushian, Nina Isabelle, Brian McCorkle, Linda Mary Montano, Ever Peacock, Miles Pflanz, and Jennifer Zackin. Photo by Amelia Iaia Nina Isabelle at The Mothership7509 The Beast at Mothership Lorene Bouboushian, Nina Isabelle, Brian McCorkle, Linda Mary Montano, Ever Peacock, Miles Pflanz, and Jennifer Zackin. Photo by Amelia Iaia NAI_7452 Nina Isabelle, Ever Peacock The Beast at Mothership Lorene Bouboushian, Nina Isabelle, Brian McCorkle, Linda Mary Montano, Ever Peacock, Miles Pflanz, and Jennifer Zackin. Photo by Amelia Iaia Beast Conjuring KILL Paper Collage 22x30 (rubberized paint, gouache, ash, enamel, watercolor) By Nina Isabelle The Beast at The Mothership The Beast at Mothership Lorene Bouboushian, Nina Isabelle, Brian McCorkle, Linda Mary Montano, Ever Peacock, Miles Pflanz, and Jennifer Zackin. Photo by Amelia Iaia The Beast at The Mothership The Beast at Mothership Lorene Bouboushian, Nina Isabelle, Brian McCorkle, Linda Mary Montano, Ever Peacock, Miles Pflanz, and Jennifer Zackin. Photo by Amelia Iaia Nina Isabelle at The Mothership The Beast at Mothership Lorene Bouboushian, Nina Isabelle, Brian McCorkle, Linda Mary Montano, Ever Peacock, Miles Pflanz, and Jennifer Zackin. Photo by Amelia Iaia Nina Isabelle at The Mothership The Beast at Mothership Lorene Bouboushian, Nina Isabelle, Brian McCorkle, Linda Mary Montano, Ever Peacock, Miles Pflanz, and Jennifer Zackin. Photo by Amelia Iaia Nina Isabelle at The Mothership The Beast at Mothership Lorene Bouboushian, Nina Isabelle, Brian McCorkle, Linda Mary Montano, Ever Peacock, Miles Pflanz, and Jennifer Zackin. Photo by Amelia Iaia Nina Isabelle at The Mothership The Beast at Mothership Lorene Bouboushian, Nina Isabelle, Brian McCorkle, Linda Mary Montano, Ever Peacock, Miles Pflanz, and Jennifer Zackin. Photo by Amelia Iaia Nina Isabelle, Lorene Bouboushian The Beast at Mothership Lorene Bouboushian, Nina Isabelle, Brian McCorkle, Linda Mary Montano, Ever Peacock, Miles Pflanz, and Jennifer Zackin. Photo by Amelia Iaia Lorene Bouboushian at The Mothership The Beast at Mothership Lorene Bouboushian, Nina Isabelle, Brian McCorkle, Linda Mary Montano, Ever Peacock, Miles Pflanz, and Jennifer Zackin. Photo by Amelia Iaia Lorene & Nina at The Mothership The Beast at Mothership Lorene Bouboushian, Nina Isabelle, Brian McCorkle, Linda Mary Montano, Ever Peacock, Miles Pflanz, and Jennifer Zackin. Photo by Amelia Iaia Brian McCorkle at The Mothership The Beast at Mothership Lorene Bouboushian, Nina Isabelle, Brian McCorkle, Linda Mary Montano, Ever Peacock, Miles Pflanz, and Jennifer Zackin. Photo by Amelia Iaia Nina Isabelle at The Mothership The Beast at Mothership Lorene Bouboushian, Nina Isabelle, Brian McCorkle, Linda Mary Montano, Ever Peacock, Miles Pflanz, and Jennifer Zackin. Photo by Amelia Iaia Nina Isabelle and Lorene Bouboushian The Beast at Mothership Lorene Bouboushian, Nina Isabelle, Brian McCorkle, Linda Mary Montano, Ever Peacock, Miles Pflanz, and Jennifer Zackin. Photo by Amelia Iaia Bouboushian, Isabelle, Peacock The Beast at Mothership Lorene Bouboushian, Nina Isabelle, Brian McCorkle, Linda Mary Montano, Ever Peacock, Miles Pflanz, and Jennifer Zackin. Photo by Amelia Iaia The "Beast Conjuring" performance intended to conjure and kill the sea beast from the book of Revelation. A group of artists and performers were invited to simultaneously interweave their own processes and intentions as a way to generate energies that might be focused toward the common goal of beast conjuring. Together the group worked to build and maximizing the physical, sensory, and psychic spaces that bind the internal and external dimensions of awareness through performative modes of sound making, movement, object construction, and ceremonial-like gestures in a process that became an inquiry into how a metaphoric conjure-and-kill scenario might translate or become useful in a literal dimension where such things are less possible-seeming. ​ "Beast Conjuring" was performed within an installation including ten hand-fabricated crowns, ten cedar root horns dug from local woods, hand painted imagery of the seven-headed ten-horned beast, a suspended hand-sewn white linen angel, a reconstructed domestic scene from the home of an ex-evangelical and a giant edible Whore of Babylon cake as bait. Lorene Bouboushian read personal text and improvised sound and movement, Linda Mary Montano performed a holy water blessing as Chicken Linda, Brian McCorkle produced sound using a Saxophone and his specially designed Beast Box, (a noise machine built with raspberry-pi based software that cast neural nets for soul retrieval,) Jennifer Zackin engaged in a task-based performance to weave a beast trapping vortex, Ever Peacock and I performed an acoustic rendition of Larry Norman's *You've been Left Behind* thirteen consecutive times all awash in Miles Pflanz's video remake of the 2014 American Christian apocalyptic thriller film *Left Behind* (based on the bestselling novels by Tim Lahaye and Jerry B. Jenkins) that reframes durational performance art as post-apocalyptic living. ​ It's difficult to gauge the effectiveness of a performance conglomerate like "Beast Conjuring" due to its potential to be made to mean multiple things by participants and observers and the ripples of their combined experiences and energies. At the same time, the ability of a situation to evade meaning is exciting. No literal beast popped out of the floor, no politicians were struck dead and there weren't any recognizable or even loosely associated repercussive events of cosmic significance but the usefulness and appeal of such a process seems to unfurl over time in a circular and translucent way that generates unanswerable questions and hints at the possibilities and potential of less realistic thinking and doing.

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... THREE PHASE 3607 ATWOOD RD. STONE RIDGE, NY email: threephasecenter@gmail.com ​ www.threephasecenter.com Three Phase Canter is a space for organizing collaborative art research and perception building situations through presenting projects and workshops designed to stimulate the types of community and dialogue that generate and build new possibilities and outcomes. . Located in Stone Ridge, NY Three Phase is a place to formulate, find, construct, propose and articulate with information derived from process-based art actions, object construction, performance, experimentation and outcomes. Three Phase is dedicated to supporting and reframing the utility of art practices that aim to sort and solve problems of language and perception by offering an array of workshops, services, studio & lab time as well as space for performance art, movement and sound exploration. ​ Three Phase Center is a Woman-led organization - conceived, owned & operated by Nina Isabelle.

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... TIME TRAVEL RESEARCH REPORT PANOPLY PERFORMANCE LABORATORY BROOKLYN, NY / FEBRUARY 4, 2017 This video documents time travel research conducted at The Panoply Laboratory in Brooklyn, NY on February 4, 2017 and is part of Panoply Laboratory's ongoing research practice initiated in 2014 titled Embarrassed of the Whole. By distorting temporal local perceptions the practice facilitates quantum nonlocality and manipulates the phenomenon of local realism in order to solve for one variable question: "Affectionately to what affect affectively?" Lab Technicians - Kaia Gilje, Nina A. Isabelle, Brian McCorkle, and Esther Neff Soundscape - Brian McCorkle Participant Subjects - Amelia Iaia, IV Castellanos, Jon Konkol, and Alice Teeple Photography - Amelia Iaia, Alice Teeple, and Nina A. Isabelle Video documentation and editing - Nina A. Isabelle Time Machine Etow at PPL Embarrassed of the Whole Time Travel Research February 4, 2016 Panoply Performance Laboratory Photo: Alice Teeple Time Machine Etow at PPL Embarrassed of the Whole Time Travel Research February 4, 2016 Panoply Performance Laboratory Photo: Alice Teeple Time Machine Etow at PPL Embarrassed of the Whole Time Travel Research February 4, 2016 Panoply Performance Laboratory Time Machine Etow at PPL Embarrassed of the Whole Time Travel Research February 4, 2016 Panoply Performance Laboratory Photo: Amelia Iaia Time Machine Etow at PPL Embarrassed of the Whole Time Travel Research February 4, 2016 Panoply Performance Laboratory Photo: Alice Teeple Time Machine Etow at PPL Embarrassed of the Whole Time Travel Research February 4, 2016 Panoply Performance Laboratory Photo: Amelia Iaia Time Machine Etow at PPL Embarrassed of the Whole Time Travel Research February 4, 2016 Panoply Performance Laboratory Photo: Amelia Iaia Time Machine Etow at PPL Embarrassed of the Whole Time Travel Research February 4, 2016 Panoply Performance Laboratory Photo: Amelia Iaia Time Machine Etow at PPL Embarrassed of the Whole Time Travel Research February 4, 2016 Panoply Performance Laboratory Photo: Amelia Iaia Time Machine Etow at PPL Embarrassed of the Whole Time Travel Research February 4, 2016 Panoply Performance Laboratory Photo: Amelia Iaia Time Machine Etow at PPL Embarrassed of the Whole Time Travel Research February 4, 2016 Panoply Performance Laboratory Photo: Amelia Iaia Time Machine Etow at PPL Embarrassed of the Whole Time Travel Research February 4, 2016 Panoply Performance Laboratory Photo: Amelia Iaia Time Machine Etow at PPL Embarrassed of the Whole Time Travel Research February 4, 2016 Panoply Performance Laboratory Photo: Amelia Iaia Time Machine Etow at PPL Embarrassed of the Whole Time Travel Research February 4, 2016 Panoply Performance Laboratory Photo: Amelia Iaia Time Machine Etow at PPL Embarrassed of the Whole Time Travel Research February 4, 2016 Panoply Performance Laboratory Photo: Amelia Iaia

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... RINGING IN EARS OCTOBER 2022

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... C O D E February 22, 2016 In response to Apple’s battle with the FBI over a federal order to unlock the iPhone of a mass shooter, C O D E looks at the differences between humans and machines and the difference between how these systems reveal or encrypt data through programming and intention. ​

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... LOCATIONAL TRAUMA TRANSFORM JUNE 23, 2016 The Locational Trauma Transforming Trap was constructed by Neva & Nina Isabelle as an action to align with the intention of absorbing and transforming physical trauma such as broken bones, head injury, and the visual implant of witnessing blood as well as emotional and physical damage to the bodies and psyches of friends and family. A handwoven trauma trap was constructed using black silk. Coated with gymnastics chalk, The Trauma Trap was used to absorb and transform trauma located at 40.8987° N, 77.3561° W. The contaminated trap was then hand washed in a mountain spring in order do dislodge the traumas from multiple physical geographic and bodily locations. One participant reports that the best tricks she learned in Gymnastics was "how to not feel pain."

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... MISC. VIDEO e845 / November 7, 2016 ​ ​ Candle Sounds / July 16, 2016 ​ ​ The Hollow Stump / November 7, 2016 ​ ​ Domestic Loops / November 1, 2016 ​ ​ At The Ashokan Reservoir / March 2016 ​ Double Slit July 16, 2016 1:01 ​ Referencing the magical incantation “As above, so below” from Hermetic Alchemy and Thomas Young’s original Double-Slit Experiment from 1801, Double Slit asks- does science suggest that man’s actions on earth might parallel actions within infinite multiple invisible lateral physical dimensions? ​ The Long Sounds That Pull December 5, 2016 7:00 ​ This is modified sensory input that has been stretched between several physical and psychic locations referencing a double decade point three cassette recorded postal anniversary edition. The original human mouth sound recording was placed in a landfill located at latitude 38.643708 / longitude -107.006703 ​ The Story Of Terror / The Ax In The Stump March 16, 2016 3:16 ​ The Ax in The Stump tells the story of Terror- as both a fabled horse from a North Indian Fairy Tale and the torture that can ride through family histories for generations.

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... WHISTLE PORTRAITS By Linda Mary Montano HiLo Catskill June 10, 2018 During these dangerous / confusing / armageddonned times we are all looking for connection, understanding, and warmth. The three of us are committed to providing public art medicine. ART=LIFE=ART. For WHISTLE PORTRAITS at HiLo, we invite audience member-collaborators to sit with us and receive a public art healing. ART HEALS!!! - Linda Mary Montano photo by Adolfo Ibanez Ayerve

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... THE GIANT WEED WEB IV SOLDIER'S F.A.G. (FEMINIST ART GROUP) at ROSEKILL SEPTEMBER 2016 ​ Feminist Art Group founder IV Castellanos of IV Soldiers Gallery curates a group of artists at Rosekill Performance Farm in Rosendale , NY for a weekend of building and performance. Elizabeth Lamb, Kaia Gilje, Amanda Hunt, Lorene Bouboushian, Nina Isabelle, Quinn Dukes, Anya Liftig, IV Castellanos, Jill McDermid, Claribel Jolie Pichardo.

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... NEW SITUATIONS ​ Arranging matter in space is a way to build new situations. June 11, 2018 ​

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... SALIENT MEMORY MANIPULATING PENDANT LAMP FEBRUARY 2017 Using neon plexiglas, colored lights, and fabric, the Salient Memory Manipulating Pendant Lamp alters the psychic terrain of interior design, creating, building upon, and forcing suggested memory implants of a "magical childhood," and "parental idolization." SALIENT MEMORY MANIPULATING PENDANT Hanging Light Sculpture: Using neon plexiglas, colored lights, and fabric, the Salient Memory Manipulating Pendant Lamp alters the psychic terrain of interior design, creating, building upon, and forcing suggested memory implants of a "magical childhood," and "parental idolization." SALIENT MEMORY MANIPULATING PENDANT Hanging Light Sculpture: Using neon plexiglas, colored lights, and fabric, the Salient Memory Manipulating Pendant Lamp alters the psychic terrain of interior design, creating, building upon, and forcing suggested memory implants of a "magical childhood," and "parental idolization." SALIENT MEMORY MANIPULATING PENDANT Hanging Light Sculpture: Using neon plexiglas, colored lights, and fabric, the Salient Memory Manipulating Pendant Lamp alters the psychic terrain of interior design, creating, building upon, and forcing suggested memory implants of a "magical childhood," and "parental idolization." SALIENT MEMORY MANIPULATING PENDANT Hanging Light Sculpture: Using neon plexiglas, colored lights, and fabric, the Salient Memory Manipulating Pendant Lamp alters the psychic terrain of interior design, creating, building upon, and forcing suggested memory implants of a "magical childhood," and "parental idolization." SALIENT MEMORY MANIPULATING PENDANT Hanging Light Sculpture: Using neon plexiglas, colored lights, and fabric, the Salient Memory Manipulating Pendant Lamp alters the psychic terrain of interior design, creating, building upon, and forcing suggested memory implants of a "magical childhood," and "parental idolization." SALIENT MEMORY MANIPULATING PENDANT Hanging Light Sculpture: Using neon plexiglas, colored lights, and fabric, the Salient Memory Manipulating Pendant Lamp alters the psychic terrain of interior design, creating, building upon, and forcing suggested memory implants of a "magical childhood," and "parental idolization."

HOME ABOUT PROJECTS THREE PHASE CONTACT SEARCH More... PSYCHIC SELF DEFENSE GIANT WOODEN STAKE FOR DESTROYING PSYCHIC VAMPIRES Inspired by Dion Fortune's Psychic Self-Defense: The Classic Instruction Manual for Protecting Yourself Against Paranormal Attack published in 1930, I carved an 11' wooden stake from a white pine tree removed from my property and designed a welded steel foundation to support and direct its potential in a specific way. There was a nearly dead forty-five foot tall white pine tree on my property that I needed to remove because it was next to a home with a newborn. I was overwhelmed by its potential for destruction as well as the terror at having to take responsibility. I feared it might smash a building or kill someone but I felt frozen to take action. Normally, I figure out a way to do things myself, but in this case I knew I had no ability to take down such a tree and I was having trouble finding a tree service who was able to schedule the job during the pandemic. I was also paralyzed by the thought of the expense. I wanted to run away, but knew I had to transform my fear and helplessness. I had the idea to approach the problem as an art project as a way to reconnect with my boldness and to remember the feeling of embodying initiative. Once I realized that I could apply methods from my art practice to this life circumstance, art became my teacher, and I began to hear the tree speaking to me saying "Look at me, I'm a giant wooden stake and I want to help you!" At the same time, I was rereading Dion Fortune's book Psychic Self-Defense: The Classic Instruction Manual for Protecting Yourself Against Paranormal Attack published in 1930 where she discusses the literal manifestation of vampiric energies and vampires themselves as people, circumstances, experiences, and entities that deplete us for their own gain. I had read the book as a young person and was now surprised to realize how her description of this system had maintained its relevance and how it paralleled the language of healthy boundaries as discussed in contemporary psychology. Vampiric energies accumulate through life experiences and interactions with other people and entities who intentionally or not connect their psyche to us. Unhealthy past relationships, traumas, and global events like the pandemic have the potential to develop longterm harmful effects on our beings and we need to develop tools to combat this dynamic. Thinking and working this way is one way art processes can help us. I designed, built, and activated the tree into a large healing tool sculpture that can neutralize the effects of psychic vampirism and other unhealthy energetic connections that impact our wellbeing. To start, I stripped the bark off of an eleven-foot length of the white pine and my son helped me with his chainsaw to carve one end into a sharp point. The base is a prism made of two welded steel equilateral triangle structures that elevate and position the point of the sculpture directly at heart level maximizing its power to blast away the psychic and etheric connections one inadvertently accumulates throughout life. The sculpture is a giant cleansing machine. It targets etheric and energetic fields and tethers that become attached to ones outer bodies over time. It's meant to cleanse the outer bodies by obliterating unhealthy energies and connections, prohibit vampiric energies from sinking their fangs into the many dimensions of our psychic, physical, mental and emotional spheres, and to destroy the parasitic relationship dynamic vampires establish and maintain with our physical host bodies against our will and awareness. The sculpture is interactive. People were invited to stand in front of it, connect with its design, and have their own healing experience. ​ ​ MAY 1 - 29, 2021 ART/LIFE INSTITUTE 185 ABEEL ST. KINGSTON, NY ​ ​ OPENING MAY 1st 6:PM - 9:PM MID-MONTH RECEPTION - MAY 15th 6:PM - 9:PM CLOSING EVENT MAY 29th - 6:PM - 6:PM ​ ​