Jo Wood-Brown's artistic practice dates back to 1976, when she first arrived in New York City. By the 1980s, Wood-Brown exhibited at International With Monument gallery in the East Village and participated in the defining Pier 34 show in Lower Manhattan. While experimenting with performance and site-specific installations, Wood-Brown established herself as a painter, exhibited at Elizabeth McDonald Gallery in SoHo, Edward Thorpe, and Paul Sharpe in Chelsea. Wood-Brown’s paintings were not limited to the canvas, instead, extended to the walls, floors, ceilings, and unconventional materials as new ways of seeing painting in relationship to space. Wood-Brown’s work captured the ephemeral presence of site-specific and performative works such as Making Line (1983) and her sowed grass earthwork at Pier 34 (1983). Working in relationship to architecture, Wood-Brown directly connects the physical presence of the artist to the surrounding environment.
After 9/11, Wood-Brown began Artist Exchange International (AEI), a grassroots project that would open a globally focused dialogue between artists from New York and Berlin. Working previously as an archaeological illustrator, Wood-Brown created Apkallu (2008), a multi-story projection of transposed stone relief panels from the palace of Ashurnasirpal II, in the Assyrian Court in the Metropolitan Museum and more recently Oasis (2016). AEI pushed Wood-Brown towards an inclusive and collaborative process with a larger community and began the exploration of interdisciplinary approaches to creating immersive and experiential environments.
"I see myself as a painter who uses the language of paint to begin a conversation with other forms and disciplines that are foreign or outside my media frame."
Miriam Parker, born in New York City, began her career as a contemporary dancer, working with Sally Silvers, and Yoshiko Chuma and the School of Hard Knocks. Parker has traveled internationally as a dancer under the guidance William Forsythe, Amanda Miller and Complexion. In the last decade, Parker began collaborating with visual artists to combine dance with the immersive methods of film, painting, and sculpture. Three Tiers (2007) acted as a defining moment for Parker by working Katy Martin, a painter and filmographer, and Jo Wood-Brown to create an immersive dance performance exploring the relationship of the body and film. Three Tiers acted as the launching point for Miriam Parker and Jo Wood-Brown that has grown over the last decade.
InnerCity Project’s The Station (2014) became a staple Parker’s choreography by exploring the individual qualities of cast of dancers. Parker worked with each dancer to isolate different ways in which each would approach the installation designed by Wood-Brown. Parker steps beyond the traditional role of a choreographer by using movement to explore the idea of cognition in relation to how and why each dancer moves. Through this process, Parker and the dancers worked to explore the notions and movements of curiosity, identity and confrontation to be projected toward the audience.
Parker has expanded her practice of her performative works to include film to allow the fluidness of the moving image to accompany her as she dances. Parker and Christina Smiros debuted their film Flying Escape at Miami’s Satellite Art Fair in December of 2016, where Parker did a live immersive dance performance using the film as a source of light and imagery.