Patrick Ballard

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What Is My Work About?

I wanted to know everything. Art was a path to the forever zone, an eternal mental fervor. As I went deeper into everything, it syphoned me to the other side of expectations where I found that I knew nothing. There I saw my nerves, my tendons, my bones, and some churning void pushing beings forward in the face of unknowing, doubling back on my fever for control.  My fingers were philosophizing, and I was just distracting myself with the knowledge dropping out of other?s mouths. But, I started sucking the knowledge from the mouths of others with the ardor of an erratic vacuum that never turns off, never gets full, and never shits, for fear of misplacing a single point from a constellation so dense it appears more like falling snow than the cosmos. I feared losing a single snowflake, never seeing it, or even the possibility that unknown permutations of such a possible thing would never be felt at all.

Artist Statement

How do I put all of the happy into your mind? How do I put all of the sad in there too? Art can be a strange hallucination of reality revealing the gaps in where one thing leaves off and another begins. For both exploring as well as synthesizing such gaps, there is a part of the being that I a call the tautoleidoscope. It is a cognitive combinational engine where there is always a constant pulsation of everything human, everything experienced, and everything received from the beginning of perceivable moments. It aggregates from aptitudes of experience we rarely even flex. It is the deepest compositional framework for our drives and wonders. I use it to find the hidden images and urge-architectures that experience and media have fused into my fantasies, and rebuild them from scratch. There are so many games a mind can play with a behavior, or a tendency, or an unquestioned notion of the way that an idea is supposed to behave. I seek to examine them by taking on the forms that choreograph expectation—the industries of anticipation that amass in some untouched realms of performance and fantasy. In unraveling that which is beyond knowing, finding where to start often poses the most interesting problem.

First, I make an object in my mind. Then imagine 1,000 ways to destroy the object. Then draw 1,000 broken or melted ideas. Then I goop and fuse and fuss them back together until they don’t resemble any object-thought I had before. Sometimes it becomes a room, and sometimes it becomes a game, and sometimes it becomes a secret that I keep with me for years before I ever photograph it in private. Sometimes I take the same photograph over and over again until the hole at the end of my hands for capturing light whirls the features of reality into a double of something I can never keep. When I stand back and look at all of the lack I’ve made, I feel a loss of gravity within the framework of familiarity and repetition. So when pulled back to begin again, I start there.

As one can see most notably with works like “The Swirling Mess…” (Image 1, 2) or my studio/set for the film “My Beautiful World” (Image 15, 16, 17), I am inserting myself into very fixed and specific iconographic representations that are verging at the edge of cliché symbolism. It is my belief that even the notion of cliché has been put under such stress in the face of modern individualism and ideas of originality, that it makes it difficult to connect with the experiential meaning of the most common symbols: a skull, a heart, a rose, etc. I also believe that the most difficult materials to work with are the most interesting. Because cliché and iconography are so intensely packed with association and meaning, the challenge of working with them becomes the grounds for a question of their materiality. How can I cause a solid idea to liquefy, or even sublimate? In consulting my own teenage poetry, I was able to surface subliminal strategies that could touch on such matter. In an attempt to express something new and deep I was using so many metaphors so quickly without completing a single one, and it was disorienting the coherency of meaning. Yet, somehow amidst the tension and desire to express, I saw a pulsating attempt to balance meaningful images and ideas in the face of existential growth. The byproduct of this libidinal errancy all of a sudden seemed valuable for not only its exhibition of velocity, but also the reflection of that growth, and the wonderfully profound lack of awareness. Between laughing at that lack, and finding something valuable within the process of development, I found myself asking: How could I construct an object that accounts for all of the time I accrue between now and the moment a future self could laugh at my present self? Would the laughter make a sound or would it softly just appear on the surface of my organism? (Image 14)

When I began to combine these durational process ideas with principles of composition that I was drawn to within my musical studies, I began fusing the distinction between sonic grammar, material grammar, and the grammar of persona in order to create densities of time. These, in their broader umbrella terms could be called sound composition, sculpture, and performance. While certainly a sculpture could be thought of as an object, it in many ways is also a situation. This is true on nearly every level of perceptual scale. At the molecular level, the only time one can achieve total stillness is at the ideal state of Absolute Zero (0K on the Kelvin scale). What this means is that we are operating within a range of climates and atmospheres in which all states of matter are actually in motion. Though they may appear to be still at some level, they are performing a movement, an ensemble, and an orchestra of variations within their structure. What this suggests to me is that the dominant act of perceiving is one that often does not account for the imperceptible variations or permutations of these performing states around us. Every object in this shifted paradigm is performing, and soon there ceases to be objects at all, but rather vibrations, behaviors, and potentialities. When objects begin perceptually unfolding in ways that defy the method by which they were initially folded, a disjuncture in understanding is produced, and we arrive at the paradox.

Perception melting into material becomes the ooze that permeates through, carries away, and diffuses the purpose of art as an identity-stabilizing tool. Here, paradox can be a gateway into the limits of consciousness. In a space cultivated between popular strategies of entertainment and temporal composition I am able to utilize highly involved material processing and craft to address a multifaceted engagement with performativity. This is most typified in a piece like “HEAD” (image 8), where I made a full body puppet costume from scratch for a vignette in a larger set of performances. The object itself is time intensive, yet it is utilized within the context of an hour-and-a-half one-man variety show featuring other materially variable and process heavy props.  One such accompanying object is a neon Erlenmeyer flask containing the 6 part animation of a pill dissolving into liquid, then into a blue triangle of gas, a pink bone, and ultimately two hearts splitting in opposite directions. (image #7) All of these transformations are manifested in and around my own body as a shape, a container, a maker, and an entity attempting to demonstrate the malleability of what is and what is not.

 

CV

EDUCATION

2014 MFA Art – California Institute of the Arts

2011 BFA Sculpture – California State University Long Beach

 

SOLO SHOWS

2014:

“I SO SORE FOR EVER THING”- California Institute of the Arts, Valencia, CA

2011:

“Two Years Since Last Tuesday” CSULB, Long Beach, CA

2010:

“Corners of a Sphere Too Flat” CSULB, Long Beach, CA

“Uniform Ensemble”  CSULB, Long Beach, CA

 

GROUP SHOWS

2014

“Machine Project Field Guide to the Gamble House” Gamble House, Pasadena, CA

“AFTERGLOW: Video Screening Series” Pieter Performance Space, Los Angeles, CA

“MAYBE ISN’T ANYTHING” Perform Chinatown at Human Resources, Los Angeles, CA

“Motion Tracking” Cirrus Gallery, Los Angeles, CA

“Impressions” Automata, Los Angeles, CA

“I Am Here, And Now I’m Here”, Machine Project at Grand Park, Los Angeles, CA

2013

“54th Annual LA County Holiday Celebration” Dorothy Chandler Pavilion, Los Angeles, CA

“Never Hit Send” 365 Mission, Los Angeles, CA

“Old Man Winter”, Machine Project, Los Angeles, CA

“Impressions”, Machine Project, Los Angeles, CA

“Multiple Possessions” Grand Central Art Center, Santa Ana, CA

“Impressions” Grand Central Art Center, Santa Ana, CA

“Sitcoms”, California Institute of the Arts, Valencia, CA

“Slag Manifesto” California Institute of the Arts, Valencia, CA

2012

“Ball of Artists” (Pacific Standard Time), LAXART @ Greystone Mansion, Los Angeles, CA

“Rudy the Entertainer @ Magic Hours” Pop-up SK Iida Gallery, Valencia, CA

2011

“Ancient History” POST Gallery, Los Angeles, CA

“Chain Letter” Shoshona Wayne Gallery, Los Angeles, CA

“Second Friday Summer Screening Series #2”, Mark Moore Gallery, Los Angeles, CA

“Open Mic at Studio Night”, Long Beach Playhouse, Long Beach, CA

“Green Ball” CSULB, Long Beach, CA

“Insights” University Art Museum, CSULB, Long Beach, CA

2010

“Tubular!” Pacific Design Center, Los Angeles, CA

“Neon Gallery Inaugural Group Show” Neon Gallery, Long Beach, CA

 

BIBILIOGRAPHY

LA Times

http://www.latimes.com/entertainment/arts/miranda/la-et-cam-machine-projects-gamble-house-sxa-festival-20140919-column.html

 

KCET

http://www.kcet.org/arts/artbound/counties/los-angeles/gamble-house-machine-project.html

 

LA Weekly

http://www.laweekly.com/publicspectacle/2014/09/24/machine-project-and-gamble-house-continue-the-trend-of-artists-taking-over-historic-homes

 

Glasstire

http://www.glasstire.com/socal/2014/09/26/machine-project-re-animates-historic-gamble-house/

 

Art Forum: Scene & Herd

http://artforum.com/diary/id=30226

 

Another Righteous Transfer

https://anotherrighteoustransfer.wordpress.com/2010/04/09/party-ball-eamonn-fox-and-patrick-ballard-opening-reception-for-tubular-exhibition-at-an-undisclosed-location-due-to-corporate-patrolling-of-the-internet-march-25-2010/

 

 

What Is My Work About? I wanted to know everything. Art was a path to the forever zone?an eternal mental fervor. As I went deeper into everything, it syphoned me to the other side of expectations where I found that I knew nothing. There I saw my nerves, my tendons, my bones, and some churning void pushing beings forward in the face of unknowing, doubling back on my fever for control.  My fingers were philosophizing, and I was just distracting myself with the knowledge dropping out of other?s mouths. But, I started sucking the knowledge from the mouths of others with the ardor of an erratic vacuum that never turns off, never gets full, and never shits, for fear of misplacing a single point from a constellation so dense it appears more like falling snow than the cosmos. I feared losing a single snowflake, never seeing it, or even the possibility that unknown permutations of such a possible thing would never be felt at all.

Artist Statement

How do I put all of the happy into your mind? How do I put all of the sad in there too? Art can be a strange hallucination of reality revealing the gaps in where one thing leaves off and another begins. For both exploring as well as synthesizing such gaps, there is a part of the being that I a call the tautoleidoscope. It is a cognitive combinational engine where there is always a constant pulsation of everything human, everything experienced, and everything received from the beginning of perceivable moments. It aggregates from aptitudes of experience we rarely even flex. It is the deepest compositional framework for our drives and wonders. I use it to find the hidden images and urge-architectures that experience and media have fused into my fantasies, and rebuild them from scratch. There are so many games a mind can play with a behavior, or a tendency, or an unquestioned notion of the way that an idea is supposed to behave. I seek to examine them by taking on the forms that choreograph expectation—the industries of anticipation that amass in some untouched realms of performance and fantasy. In unraveling that which is beyond knowing, finding where to start often poses the most interesting problem.

First, I make an object in my mind. Then imagine 1,000 ways to destroy the object. Then draw 1,000 broken or melted ideas. Then I goop and fuse and fuss them back together until they don’t resemble any object-thought I had before. Sometimes it becomes a room, and sometimes it becomes a game, and sometimes it becomes a secret that I keep with me for years before I ever photograph it in private. Sometimes I take the same photograph over and over again until the hole at the end of my hands for capturing light whirls the features of reality into a double of something I can never keep. When I stand back and look at all of the lack I’ve made, I feel a loss of gravity within the framework of familiarity and repetition. So when pulled back to begin again, I start there.

As one can see most notably with works like “The Swirling Mess…” (Image 1, 2) or my studio/set for the film “My Beautiful World” (Image 15, 16, 17), I am inserting myself into very fixed and specific iconographic representations that are verging at the edge of cliché symbolism. It is my belief that even the notion of cliché has been put under such stress in the face of modern individualism and ideas of originality, that it makes it difficult to connect with the experiential meaning of the most common symbols: a skull, a heart, a rose, etc. I also believe that the most difficult materials to work with are the most interesting. Because cliché and iconography are so intensely packed with association and meaning, the challenge of working with them becomes the grounds for a question of their materiality. How can I cause a solid idea to liquefy, or even sublimate? In consulting my own teenage poetry, I was able to surface subliminal strategies that could touch on such matter. In an attempt to express something new and deep I was using so many metaphors so quickly without completing a single one, and it was disorienting the coherency of meaning. Yet, somehow amidst the tension and desire to express, I saw a pulsating attempt to balance meaningful images and ideas in the face of existential growth. The byproduct of this libidinal errancy all of a sudden seemed valuable for not only its exhibition of velocity, but also the reflection of that growth, and the wonderfully profound lack of awareness. Between laughing at that lack, and finding something valuable within the process of development, I found myself asking: How could I construct an object that accounts for all of the time I accrue between now and the moment a future self could laugh at my present self? Would the laughter make a sound or would it softly just appear on the surface of my organism? (Image 14)

When I began to combine these durational process ideas with principles of composition that I was drawn to within my musical studies, I began fusing the distinction between sonic grammar, material grammar, and the grammar of persona in order to create densities of time. These, in their broader umbrella terms could be called sound composition, sculpture, and performance. While certainly a sculpture could be thought of as an object, it in many ways is also a situation. This is true on nearly every level of perceptual scale. At the molecular level, the only time one can achieve total stillness is at the ideal state of Absolute Zero (0K on the Kelvin scale). What this means is that we are operating within a range of climates and atmospheres in which all states of matter are actually in motion. Though they may appear to be still at some level, they are performing a movement, an ensemble, and an orchestra of variations within their structure. What this suggests to me is that the dominant act of perceiving is one that often does not account for the imperceptible variations or permutations of these performing states around us. Every object in this shifted paradigm is performing, and soon there ceases to be objects at all, but rather vibrations, behaviors, and potentialities. When objects begin perceptually unfolding in ways that defy the method by which they were initially folded, a disjuncture in understanding is produced, and we arrive at the paradox.

Perception melting into material becomes the ooze that permeates through, carries away, and diffuses the purpose of art as an identity-stabilizing tool. Here, paradox can be a gateway into the limits of consciousness. In a space cultivated between popular strategies of entertainment and temporal composition I am able to utilize highly involved material processing and craft to address a multifaceted engagement with performativity. This is most typified in a piece like “HEAD” (image 8), where I made a full body puppet costume from scratch for a vignette in a larger set of performances. The object itself is time intensive, yet it is utilized within the context of an hour-and-a-half one-man variety show featuring other materially variable and process heavy props.  One such accompanying object is a neon Erlenmeyer flask containing the 6 part animation of a pill dissolving into liquid, then into a blue triangle of gas, a pink bone, and ultimately two hearts splitting in opposite directions. (image #7) All of these transformations are manifested in and around my own body as a shape, a container, a maker, and an entity attempting to demonstrate the malleability of what is and what is not.

CV

EDUCATION

2014 MFA Art – California Institute of the Arts

2011 BFA Sculpture – California State University Long Beach

SOLO SHOWS

2014:

“I SO SORE FOR EVER THING”- California Institute of the Arts, Valencia, CA

2011:

“Two Years Since Last Tuesday” CSULB, Long Beach, CA

2010:

“Corners of a Sphere Too Flat” CSULB, Long Beach, CA

“Uniform Ensemble”  CSULB, Long Beach, CA

GROUP SHOWS

2014

“Machine Project Field Guide to the Gamble House” Gamble House, Pasadena, CA

“AFTERGLOW: Video Screening Series” Pieter Performance Space, Los Angeles, CA

“MAYBE ISN’T ANYTHING” Perform Chinatown at Human Resources, Los Angeles, CA

“Motion Tracking” Cirrus Gallery, Los Angeles, CA

“Impressions” Automata, Los Angeles, CA

“I Am Here, And Now I’m Here”, Machine Project at Grand Park, Los Angeles, CA

2013

“54th Annual LA County Holiday Celebration” Dorothy Chandler Pavilion, Los Angeles, CA

“Never Hit Send” 365 Mission, Los Angeles, CA

“Old Man Winter”, Machine Project, Los Angeles, CA

“Impressions”, Machine Project, Los Angeles, CA

“Multiple Possessions” Grand Central Art Center, Santa Ana, CA

“Impressions” Grand Central Art Center, Santa Ana, CA

“Sitcoms”, California Institute of the Arts, Valencia, CA

“Slag Manifesto” California Institute of the Arts, Valencia, CA

2012

“Ball of Artists” (Pacific Standard Time), LAXART @ Greystone Mansion, Los Angeles, CA

“Rudy the Entertainer @ Magic Hours” Pop-up SK Iida Gallery, Valencia, CA

2011

“Ancient History” POST Gallery, Los Angeles, CA

“Chain Letter” Shoshona Wayne Gallery, Los Angeles, CA

“Second Friday Summer Screening Series #2”, Mark Moore Gallery, Los Angeles, CA

“Open Mic at Studio Night”, Long Beach Playhouse, Long Beach, CA

“Green Ball” CSULB, Long Beach, CA

“Insights” University Art Museum, CSULB, Long Beach, CA

2010

“Tubular!” Pacific Design Center, Los Angeles, CA

“Neon Gallery Inaugural Group Show” Neon Gallery, Long Beach, CA

BIBILIOGRAPHY

LA Times

http://www.latimes.com/entertainment/arts/miranda/la-et-cam-machine-projects-gamble-house-sxa-festival-20140919-column.html

KCET

http://www.kcet.org/arts/artbound/counties/los-angeles/gamble-house-machine-project.html

LA Weekly

http://www.laweekly.com/publicspectacle/2014/09/24/machine-project-and-gamble-house-continue-the-trend-of-artists-taking-over-historic-homes

Glasstire

http://www.glasstire.com/socal/2014/09/26/machine-project-re-animates-historic-gamble-house/

Art Forum: Scene & Herd

http://artforum.com/diary/id=30226

Another Righteous Transfer

https://anotherrighteoustransfer.wordpress.com/2010/04/09/party-ball-eamonn-fox-and-patrick-ballard-opening-reception-for-tubular-exhibition-at-an-undisclosed-location-due-to-corporate-patrolling-of-the-internet-march-25-2010/

 

What Is My Work About? I wanted to know everything. Art was a path to the forever zone?an eternal mental fervor. As I went deeper into everything, it syphoned me to the other side of expectations where I found that I knew nothing. There I saw my nerves, my tendons, my bones, and some churning void pushing beings forward in the face of unknowing, doubling back on my fever for control.  My fingers were philosophizing, and I was just distracting myself with the knowledge dropping out of other?s mouths. But, I started sucking the knowledge from the mouths of others with the ardor of an erratic vacuum that never turns off, never gets full, and never shits, for fear of misplacing a single point from a constellation so dense it appears more like falling snow than the cosmos. I feared losing a single snowflake, never seeing it, or even the possibility that unknown permutations of such a possible thing would never be felt at all.

Artist Statement

How do I put all of the happy into your mind? How do I put all of the sad in there too? Art can be a strange hallucination of reality revealing the gaps in where one thing leaves off and another begins. For both exploring as well as synthesizing such gaps, there is a part of the being that I a call the tautoleidoscope. It is a cognitive combinational engine where there is always a constant pulsation of everything human, everything experienced, and everything received from the beginning of perceivable moments. It aggregates from aptitudes of experience we rarely even flex. It is the deepest compositional framework for our drives and wonders. I use it to find the hidden images and urge-architectures that experience and media have fused into my fantasies, and rebuild them from scratch. There are so many games a mind can play with a behavior, or a tendency, or an unquestioned notion of the way that an idea is supposed to behave. I seek to examine them by taking on the forms that choreograph expectation—the industries of anticipation that amass in some untouched realms of performance and fantasy. In unraveling that which is beyond knowing, finding where to start often poses the most interesting problem.

First, I make an object in my mind. Then imagine 1,000 ways to destroy the object. Then draw 1,000 broken or melted ideas. Then I goop and fuse and fuss them back together until they don’t resemble any object-thought I had before. Sometimes it becomes a room, and sometimes it becomes a game, and sometimes it becomes a secret that I keep with me for years before I ever photograph it in private. Sometimes I take the same photograph over and over again until the hole at the end of my hands for capturing light whirls the features of reality into a double of something I can never keep. When I stand back and look at all of the lack I’ve made, I feel a loss of gravity within the framework of familiarity and repetition. So when pulled back to begin again, I start there.

As one can see most notably with works like “The Swirling Mess…” (Image 1, 2) or my studio/set for the film “My Beautiful World” (Image 15, 16, 17), I am inserting myself into very fixed and specific iconographic representations that are verging at the edge of cliché symbolism. It is my belief that even the notion of cliché has been put under such stress in the face of modern individualism and ideas of originality, that it makes it difficult to connect with the experiential meaning of the most common symbols: a skull, a heart, a rose, etc. I also believe that the most difficult materials to work with are the most interesting. Because cliché and iconography are so intensely packed with association and meaning, the challenge of working with them becomes the grounds for a question of their materiality. How can I cause a solid idea to liquefy, or even sublimate? In consulting my own teenage poetry, I was able to surface subliminal strategies that could touch on such matter. In an attempt to express something new and deep I was using so many metaphors so quickly without completing a single one, and it was disorienting the coherency of meaning. Yet, somehow amidst the tension and desire to express, I saw a pulsating attempt to balance meaningful images and ideas in the face of existential growth. The byproduct of this libidinal errancy all of a sudden seemed valuable for not only its exhibition of velocity, but also the reflection of that growth, and the wonderfully profound lack of awareness. Between laughing at that lack, and finding something valuable within the process of development, I found myself asking: How could I construct an object that accounts for all of the time I accrue between now and the moment a future self could laugh at my present self? Would the laughter make a sound or would it softly just appear on the surface of my organism? (Image 14)

When I began to combine these durational process ideas with principles of composition that I was drawn to within my musical studies, I began fusing the distinction between sonic grammar, material grammar, and the grammar of persona in order to create densities of time. These, in their broader umbrella terms could be called sound composition, sculpture, and performance. While certainly a sculpture could be thought of as an object, it in many ways is also a situation. This is true on nearly every level of perceptual scale. At the molecular level, the only time one can achieve total stillness is at the ideal state of Absolute Zero (0K on the Kelvin scale). What this means is that we are operating within a range of climates and atmospheres in which all states of matter are actually in motion. Though they may appear to be still at some level, they are performing a movement, an ensemble, and an orchestra of variations within their structure. What this suggests to me is that the dominant act of perceiving is one that often does not account for the imperceptible variations or permutations of these performing states around us. Every object in this shifted paradigm is performing, and soon there ceases to be objects at all, but rather vibrations, behaviors, and potentialities. When objects begin perceptually unfolding in ways that defy the method by which they were initially folded, a disjuncture in understanding is produced, and we arrive at the paradox.

Perception melting into material becomes the ooze that permeates through, carries away, and diffuses the purpose of art as an identity-stabilizing tool. Here, paradox can be a gateway into the limits of consciousness. In a space cultivated between popular strategies of entertainment and temporal composition I am able to utilize highly involved material processing and craft to address a multifaceted engagement with performativity. This is most typified in a piece like “HEAD” (image 8), where I made a full body puppet costume from scratch for a vignette in a larger set of performances. The object itself is time intensive, yet it is utilized within the context of an hour-and-a-half one-man variety show featuring other materially variable and process heavy props.  One such accompanying object is a neon Erlenmeyer flask containing the 6 part animation of a pill dissolving into liquid, then into a blue triangle of gas, a pink bone, and ultimately two hearts splitting in opposite directions. (image #7) All of these transformations are manifested in and around my own body as a shape, a container, a maker, and an entity attempting to demonstrate the malleability of what is and what is not.

CV

EDUCATION

2014 MFA Art – California Institute of the Arts

2011 BFA Sculpture – California State University Long Beach

SOLO SHOWS

2014:

“I SO SORE FOR EVER THING”- California Institute of the Arts, Valencia, CA

2011:

“Two Years Since Last Tuesday” CSULB, Long Beach, CA

2010:

“Corners of a Sphere Too Flat” CSULB, Long Beach, CA

“Uniform Ensemble”  CSULB, Long Beach, CA

GROUP SHOWS

2014

“Machine Project Field Guide to the Gamble House” Gamble House, Pasadena, CA

“AFTERGLOW: Video Screening Series” Pieter Performance Space, Los Angeles, CA

“MAYBE ISN’T ANYTHING” Perform Chinatown at Human Resources, Los Angeles, CA

“Motion Tracking” Cirrus Gallery, Los Angeles, CA

“Impressions” Automata, Los Angeles, CA

“I Am Here, And Now I’m Here”, Machine Project at Grand Park, Los Angeles, CA

2013

“54th Annual LA County Holiday Celebration” Dorothy Chandler Pavilion, Los Angeles, CA

“Never Hit Send” 365 Mission, Los Angeles, CA

“Old Man Winter”, Machine Project, Los Angeles, CA

“Impressions”, Machine Project, Los Angeles, CA

“Multiple Possessions” Grand Central Art Center, Santa Ana, CA

“Impressions” Grand Central Art Center, Santa Ana, CA

“Sitcoms”, California Institute of the Arts, Valencia, CA

“Slag Manifesto” California Institute of the Arts, Valencia, CA

2012

“Ball of Artists” (Pacific Standard Time), LAXART @ Greystone Mansion, Los Angeles, CA

“Rudy the Entertainer @ Magic Hours” Pop-up SK Iida Gallery, Valencia, CA

2011

“Ancient History” POST Gallery, Los Angeles, CA

“Chain Letter” Shoshona Wayne Gallery, Los Angeles, CA

“Second Friday Summer Screening Series #2”, Mark Moore Gallery, Los Angeles, CA

“Open Mic at Studio Night”, Long Beach Playhouse, Long Beach, CA

“Green Ball” CSULB, Long Beach, CA

“Insights” University Art Museum, CSULB, Long Beach, CA

2010

“Tubular!” Pacific Design Center, Los Angeles, CA

“Neon Gallery Inaugural Group Show” Neon Gallery, Long Beach, CA

BIBILIOGRAPHY

LA Times

http://www.latimes.com/entertainment/arts/miranda/la-et-cam-machine-projects-gamble-house-sxa-festival-20140919-column.html

KCET

http://www.kcet.org/arts/artbound/counties/los-angeles/gamble-house-machine-project.html

LA Weekly

http://www.laweekly.com/publicspectacle/2014/09/24/machine-project-and-gamble-house-continue-the-trend-of-artists-taking-over-historic-homes

Glasstire

http://www.glasstire.com/socal/2014/09/26/machine-project-re-animates-historic-gamble-house/

Art Forum: Scene & Herd

http://artforum.com/diary/id=30226

Another Righteous Transfer

https://anotherrighteoustransfer.wordpress.com/2010/04/09/party-ball-eamonn-fox-and-patrick-ballard-opening-reception-for-tubular-exhibition-at-an-undisclosed-location-due-to-corporate-patrolling-of-the-internet-march-25-2010/