I’m a tinkerer of sorts and my work is fueled by that. Each piece is a fresh look at how I can do something different. I play with the unconventional: from unique cameras, rigs, angles, and audio to rhythmic editing, to the finished display. My camera is often found mounted to my body, hanging out my car’s sunroof or falling towards the ground for that perfect shot. The camera of choice depends on the end goal or the experiment. From braille as editing dots, to Morse Code, my editing reveals a hidden message or mimics a song that the viewer cannot hear. A right, left, right, left directional flicker, stereo pan, or cut on motion can toy with my audience’s perception and recollection. To top it all off I think about my output. Am I making a black box or white cube piece? Can it cross between the two? How could I display work without revealing cords, cables, and playback devices? I like gadgets and gizmos that further my installation. I want my viewers to participate in the experience physically and/or emotionally. The end result is a work that encompasses the experiment, through one or more senses, activating emotional and/or critical thinking about the experience that has just taken place.
Since her teens, Columbus video artist, Nicolette Swift has been capturing life in her videos. In 2005 she graduated from The Ohio State University with a double major in Art History and Film and Media Studies. While in her undergrad she discovered a love for working with archival materials. She obtained a Masters of Library and Information Science with a focus in multi-media access from Kent State University in 2007. Since then she has worked with many individuals as well as The Ohio State University, Columbus International Film + Video Festival, Independents’ Day Festival, PPG, and Hammond Harkins Galleries to create multi-media content. With the help of her husband and the support of OSU’s Film Studies Program she co-founded The Columbus Moving Image Art Review, which has been holding quarterly hour-long screenings since 2009. Currently, her personal projects include avant-garde video essays that incorporate found, archival, and cultural materials.