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Patricia Clark is an interdisciplinary artist and educator working in video, interactive media installations and performance, digital prints, and documentary. She received her M.F.A. from Arizona State University’s School of Art in Intermedia with a focus on video art and interactive installation in 1992. Working individually, and in collaboration with other artists and scholars, she explores content areas that lie within the cultural, social, and economic identities of the United States, Latin America, and the Caribbean. Clark presents multiple windows through which evolving global, national, ethnic, and cultural identity are presented in non-linear portraits of people, place, and time. Her individual and collaborative works have been exhibited at the Musée des beaux-arts de Montréal, Quebec, Canada; URSA in Santa Fe, NM, the Whitney Museum of American Art, NYC, The VIII Cuban Bienal, Havana, The Chiaroscuro Gallery (Gebert Contemporary Gallery), Scottsdale, AZ, and the Centro Cultural Banco do Brazil. After eleven years as a media artist and academic professional for the ASU Institute for Studies in the Arts, an arts and technology research institute, and the Arts, Media, and Engineering graduate program, Clark joined the faculty of the Interdisciplinary Arts and Performance Department at ASU where she has been able to focus on her solo work, continue her collaborative projects, and teach students late 20th and 21st century art forms, research, and practice. Her most recent solo works are focused on the island nation of Cuba and within the United States. These works, and others that are in pre-production and production, will form a larger body of work entitled Cuba and US: A Través De Mi Ventana, a collection of video art, experimental documentary, interactive installation, and archival printed works. The completed works are: Los Trabajadores, created in 2007, is a three-channel piece that comments on the repetitive nature of labor. Vida en La Osha Comenzo, 2007, is a ten minute three channel video art installation that presents the iconography, ritual, and community of the Cuban Lucumi religion. Trabajo Voluntario, 2006, is a six-channel video art installation that examines Cuba’s changing labor and economic institutions. Cada Dia en Mis Sueños, a video art work that provides the viewpoint of an outsider looking into the world that is Cuba. This Place Meant, is a single channel video that examines displacement in the United States with regard to complacency, nationalism, symbolism, and the media. A significant focus of her collaborative work is found in projects such as La Edad de Oro, a three channel video collaboration with José Angel Toirac, and Meira Marrero Diaz included in The American Effect exhibition at the Whitney Museum of American Art in New York City, 2003, at the Alucin-Arte Exhibition of the Toronto Latino Film Festival in November 2003, featured in the exhibition by the Ludwig Fundacíon during the Cuban Bienal VIII, Havana, Cuba, and in the Expo Arte de Cuba exhibition in the Centro Cultural Banco do Brazil, (Sao Paulo, Rio de Janeiro, Brasilia) in 2006. La Edad de Oro is in the permanent collections of the Musée des beaux-arts de Montréal, Montreal, Quebec, Canada, and the Arizona State University Art Museum, Tempe, Arizona. A new project with José Angel Toirac and Meira Marrero Diaz, both of Cuba, is in progress and will take the form of an interactive installation that maps significant points of contact between the United States and Cuba throughout history and up to contemporary times. Its working title is I Have A Dream: What We Have In Common. Clark has also collaborated for the past several years with Cuban composer Marlon Gongora Gonzalez who has written and performed original compositions for her video works. A new project began in 2006 and is in production with the working title of Monumental. It will take the form of a multiple channel video and audio installation. Other collaborative projects include Rosca Izquierda by Cuban artist José Angel Toirac in collaboration with Gene Cooper and Patricia Clark; First World Order by Phillip Mallory Jones; Mirrors & Smoke by Philip Mallory Jones, Ralph Lemon and Katherine Milton; El Salvador: Art Under Duress and Contemporary Art From Cuba: Irony and Survival on the Utopian Island, both exhibitions by curator Marilyn Zeitlin, in which Clark served as media artist, editor (El Salvador project videos), and collaborator for the video documentary on contemporary Cuban artists, also entitled Contemporary Art From Cuba: Irony and Survival on the Utopian Island. Clark also collaborates as media artist in performance works such as HEEL and A Certain Release by Jeff McMahon, and IMUR by Lance Gharavi. She has designed and/or produced media for performances such as Riga by Lanford Wilson with Marshall Mason, Director; VooDoo Dreams by Jewell Parker Rhodes with Charles Mees, Director, Falling to Earth by Ellen Bromberg and Douglas Rosenberg, and Chaing Kai Chek with William Aikens, Director, among others. Clark is a member of a collaborative group that has produced an interactive mediated installation on the short plays of Samuel Beckett entitled The Beckett Project, (October 2003) and was artist collaborator in the installation, Where is Luis Gomez? by Cuban artist Luis Gomez at the Mattress Factory, Pittsburg, PA, November 2004 – April 2005. Patricia Clark became Assistant Professor of Media Arts for the Interdisciplinary Arts and Performance Department at Arizona State University in 2003. She is represented by the Chiaroscuro Gallery (Gebert Contemporary Gallery) in Scottsdale, Arizona, and by URSA in Santa Fe, New Mexico.
