Radio Island

In this piece, a radical work of Dutch architecture becomes the raw material for a series of experiments with time. Born in a computer, the building jumps again into video where it can mutate freely. Here, particles becomes pixels and matter becomes light, as the structure is melted, frozen, shattered, and melted again into a new, transmissible signal. Shot at the H2O expo, Zierikzee, The Netherlands. Architect: Lars Spueybroek/NOX. "Van McElwee transports his viewers hypnotically, viscerally, imaginatively through ingenious fascinating images and sounds. Traveling through his video art, you know you’re in the hands of a dreamer and an artist." - Diane Carson, St. Louis Riverfront Times

In this world, the Paris Metro is a teleporter. Branching timelines lead to peculiar spaces that contain only fragments of the original Metro.

A wandering figure traces tunnels through a space of possibilities. “… A kind of evocative visual poetry, equally stimulating to the eye and the mind” David Finkelstein, Film Threat

Apparitions, maze marchers, new world natives. Recorded in Minecraft and Aguas Calientes, Peru.

FOLDED FOLLIES is an improvisation on Bernard Tschumi’s deconstructionist follies at Parc La Villette in Paris. The structures, which the architect has described as "post-humanist, are translated into motion and then subjected to a radical transformation. Unusual demands are made of the recording capability of the medium, as video and audio signals are pushed to extremes. Space collapses and the follies are literally folded in time.

This house is under construction. Its design incorporates numerous points of view into one flowing form. The sound is a field of musical patterns without a tonal center.

Movie theaters are temples that have morphed into labyrinths, architectural fractals leading from the actual to the virtual. These multiplexes steer a diverse public through branching hallways to imaginary worlds, where the labyrinth shatters into glowing handheld screens. Designed as a movie for phones, PLEX is an architectural model of an endless cinema, made from a set of twenty black cube interiors filled with colored screens and artificial lobby music. A spiraling camera path connects the cube units into a free-form structure that occasionally loops back on itself, creating intersections of cascading screens. An external view would reveal a chain of cubes endlessly exploring a 3D grid of possibilities. The cubes play like wind chimes, blown by chance.

The screen is slit into colors. Through this moves a pattern that is constantly warped by waves. Another space opens up; level upon level of form is revealed. Clusters of voices repeat themselves. Alternating percussion and sharp edits counerpoint the auiovisual flow.

A dream of coming and going, of a world deep in time.

A virtual camera coils through an endless chain of orange dodecahedra filled with music and pale blue snow. The camera floats from one facet to another, connecting eleven blizzard-filled volumes in unpredictable groupings. Unlike the cubes that make up PLEX, chains of dodecahedra do not form loops, so in BLUE SNOWBALLS, two or more spaces will never be superimposed.

3D Anaglyph Video. For this project, floor plans from the ancient Mesopotamian city of Ur, ca. 2000 B.C.E, were extruded into an artificial 3D space. A virtual camera floats through this odd-angled honeycomb of halls, doors, and passageways, accompanied only by the sound of hands rubbing together. Archaic Rooms suggests a glimpse into an inaccessible level of the unconscious, one with no boundaries, no exterior, and no beginning or end. Dimensions variable.

A video camera floating through a real-world Chinese sky labyrinth produces nine video clips arranged by chance. In each of these units, a different part of the original cave dissolves in and out of a luminous mist, creating a new labyrinth from the old. In these frozen clouds, nothing changes but our viewpoint.

Here the medium echoes the brain’s processing of older impressions into totally new forms, into fresh patterns to fill the empty screen of awareness. "McElwee is inviting us to revel in the tactile sensuousness of light and color itself… shimmering, fascinating," David Finkelstein, Film Threat

Waves of variation reveal the contours of impossible form, as if the process of decay were reversed, causing delicate structures to emerge from the grain of chaos. “McElwee’s work is pure image-making…quite beautiful.” - Robert Duffy, St. Louis Post-Dispatch

Imagine a fly's eye, but with each facet roaming independently through nighttime Tokyo. These multiple perspectives are woven together at brain wave frequencies, creating new patterns and new spaces. “It can be argued that McElwee’s Liquid Crystal simulates a new reality conducive to human survivability in the hypermodern age.” Robert Kohn, Afterimage “McElwee’s videos are not viewed so much as experienced. The repeated images, constantly changing, become embedded in the memory like a visual mantra.” - Rudy Zapf, Playback

This house is under construction. Its design incorporates numerous points of view into one flowing form. The music for Aperspectival House uses a process of kaleidoscopic sound layering, as Hamilton’s parallel to the additive textures found in the video. All the original sounds are short recordings of construction sounds – hammering and sawing – which are transformed into somewhat coherent pitches and rhythms. TH “Where today we seem to discern only shrieks and dissonance, tomorrow we will find a new tone, a new form, a new perception.” Jean Gebser