Megan Roberts & Raymond Ghirardo
   
SUBMERGED focuses on the intersection of light and water, color, image and flow, incorporating video projection on pools of water, reflected and refracted, with the physical manipulation of water and image using sound waves and audio transduction. These shallow, black “ponds” are made of EPDM liner, surrounded by black bark mulch and accessed by simple wooden boardwalks, made from recycled lumber. 2014
    
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CASCADE is an installation incorporating front and rear projection on cast latex faces, joined together as in a large quilt, pouring down from the ceiling, evoking the feeling of a waterfall. The projections incorporate digitally processed imagery and audio from Everglades National Park and the East fjords of Iceland. The imagery is digitally masked so that the projection falls only on the cast faces.  2009  
    
   
CONE FIELD incorporates layers of sound and multiple video projections with sculptural objects, digitally masked so that the projection falls only on the objects, with no spillover to the background or floor. Texture and text are rhythmically interwoven, creating a hidden self portrait of personal identification -- numbers that uselessly appear in written English raising iconographic questions. 2000-2004
    
   
IMAGE STREAM is a new work in a body of installations thematically related as imaginary landscapes. Rather than water, a metaphoric river is created as a play on ubiquitous media.  Projected image and texture defines areas and shapes forming a visual structure of meandering streams, cascades, pools, and eddies, shallows, rapids and ultimately a flood of imagery. Manipulated audio and
exaggerated sound reinforces this incongruous landscape.  2007      
RAIN/FALL is an installation of white umbrellas, suspended in mid-air, with rear projections on the umbrellas fabric of actual and virtual images and objects falling like rain.  The umbrellas have audio transducers attached, making the cloth surface of the umbrella effectively a loudspeaker. The imagery on the tape is digitally masked so that the projection falls only on the objects, with no spillover to the background or floor. 2003-2004     
 HOODOO” is an installation/landscape of many organically textured hollow ceramic cylinders varying in height from 2’ to 12’, some with distinct human features.  Several tubes house miniature video projectors that rear-screen project the imagery of bubbling mud onto a form-fitted scrim near the top of the tube. Using the recorded real imagery from the natural environment, remembered form, and anthropomorphic exaggerations there emerges a distilled sense of place.    1997        
I"LL FLY AWAY is a sound sculpture incorporating audio transducers turning cast paper faces into speakers, creating an intimate soundscape with disjointed conversations and location recordings of birdsong. Created at Lademoen Kunstnerverksteder  in Trondheim, Norway and Brush Creek Foundation, Wyoming 2015
 ATVO II -This is a single camera documentation of a 12-channel video installation.  Each of the 12 performance tapes was edited according to a 12 part score for synchronous playback in a 3 x 4 monitor and speaker grid.  In this work the images on the individual monitors combine in a minimal choreography animated by electronic sound triggered video switching.  1986
    
PARADISE 3 is a performance at Mobius Gallery in Boston as part of the International Sound Art Festival.  The work includes a system of sound circling overhead in large, puffy Tyvek forms, a landscape of breathing cubes on the ground, populated by many remote-controlled cast heads with self contained sound systems, singing praises to the artists, their creators.  1985
    “Rain/Fall” is an installation of white umbrellas, suspended in mid-air, with rear projections on the umbrellas fabric of actual and virtual images and objects falling like rain.  The umbrellas have audio transducers attached, making the cloth surface of the umbrella effectively a loudspeaker, alternately reinforcing or contradicting the visual imagery. The imagery on the tape is digitally masked. 2003-2004     
   
“Image Stream” is a new work in a body of installations thematically related as imaginary landscapes. Rather than water, a metaphoric river is created as a play on ubiquitous media.  Projected image and texture defines areas and shapes forming a visual structure of meandering streams, cascades, pools, and eddies, shallows, rapids and ultimately a flood of imagery. Manipulated audio and exaggerated sound reinforce this incongruous landscape.  2007 
I’ll Fly Away  shows a series of faces moulded in rice paper where the loudspeaker inside the shapes creates resonance for the nature sounds which emit from the shapes. The title refers to a well-known gospel song that in mild terms describes the end of life. 2013
   
GHOST ROCKS is a work is based on the unique rock covered landscape of the gold rush country in Northern California, a landscape created by gold mining processes that washed away the soil and left behind fields and hillsides of boulders.  

BADLANDS is a constructed mountain, dry and eroded in appearance, with a path to the 12-foot summit.    At the bottom of the pit, buried in dirt, are three color monitors  forming the image of an anguished person pounding the ground.  1988 (3:30)
    
ASSEMBLY LINE is an electronic and mechanical movement triggered sound installation and performance.  36 separate sound systems are triggered by the performers movements and manipulations activating handbuilt synth modules, tape loops and processed acoustic sounds.  Based on the inherent aesthetics of a factory and the technology of a previous time.  !979-80