Buzz Kill, acrylic, aluminum paint, chicken wire on panel, 4′ x 4′, 2017
Untitled (shield), acrylic on panel, 4′ x 4′, 2017
B-21, acrylic, aluminum paint, buoys on panel, 4′ x 4′, 2017
Hell or High Water, acrylic on panel, 4′ x 4′, 2017
Feeding a Dead Shoe #4, acrylic on panel, 4′ x 4′, 2017
Sea Swept, acrylic, aluminum paint, found print on panel, 4′ x 4′, 2017
Untitled (target), acrylic, aluminum paint, chicken wire on panel, 4′ x 4′, 2017,
Saddle Stripped Bare, acrylic, aluminum paint, found painted saw blade, 4′ x 4′, 2017
Ground Control, acrylic, wire, box fan on panel, 48″ x 36″, 2015
Windburnt (tumbleweeds), wire, red blinking LED module, size varies, 2015
Windburnt, PUNCH Gallery, Seattle, WA, 2015
Vocal Scores of Seattle, WA (Urban Legend)
The Fall (Urban Legend) (use headphones for online version)
duration 07:00 minutes
Psychogeographic drawings based on his explorations of urban wandering of Seattle, WA (Urban Legend)
Untitled Flag (Urban Legend)
In URBAN LEGEND, Justin Lee Martin creates videos, vocal scores and psychogeographic drawings based on his explorations of urban wandering. Martin questions how we experience constructed space through individual or collective memory. Underlying themes in his current work include myth, desire, and the threat of change, or even more frightening, the memory of change. Reminiscent of Dada sound poetry, Martin’s vocal scores are an attempt to map a relationship between public and private spaces. His drawings, in the form of historical plaques, are created with the intention to map a psychological landscape of the city and its’ effect or rather affect on the self. In the video The Fall, Martin uses the city to create a fictional narrative in an attempt to capture real moments that might resonate with our collective imagination. Martin’s current quest for satisfaction in an urban metropolis summons his tradition of lucid and pastoral Western wanderings. The shift itself might be most evident in his cache of these exercises.
Ten Feet Tall (use headphones for online version)
duration 04:05 minutes
Kiss (collaboration with Contraposto) (use headphones for online version)
duration 03:00 minute loop
Walk West (excerpt) (use headphones for online version)
duration 06:31 minutes
I’m Too Sad to Tell You
duration: 03:54 minutes
duration: 05:00 minutes
Nightwatch (use headphones for online version)
duration 05:30 minutes
Live(ing) Monument calls attention to how public monuments can be temporal. In a sense Live(ing) Monument is a site-specific anti-monument that intervenes in a place for a short period of time.
Faith Will Keep Us Coming Back
duration 01:22:35 hours
“Faith Will Keep Us Coming Back”, composed of found images from a online web cam. This 82-minute video consists of tourists visiting a natural landmark. The images have been cropped, showing only the people that visit the site. Each image slowly dissolves into the next. The title of this piece suggests that in order for tourists to visit a natural landmark (such a Old Faithful) they must have faith that it will continue to erupt once they arrive. The corporations that own and operate concessions within the park must also confide in the stock market doing well enough to permit the public to continue leisurely activities such as sightseeing.
An audio soundscape based on the recordings of six different walks while dragging a can. I connected a microphone to the inside of the can and recorded the sound of the can dragging on different surfaces. After the six different walks were completed I edited the audio recordings together to make a continuously changing composition.
disLocation Tampa (collaboration with Robb Fladry)
At the center of the exhibition are 1600 photographs, all pulled from Flickr, all triggered from the keyword Tampa. On the north wall photographs hang from nails in a grid like composition. The dimension of this piece is 3’ by 40’. The viewer is invited to remove, replace and reorganize the photos creating new compositions. At the same time, video projections of YouTube videos and Twitter feeds around the same central theme of Tampa are projected on the walls.
Park-N-Squeeze,is a community-based project organized by Megan Hildebrandt, Kim Johnson and myself This performance took place at a metered parking site downtown Tampa. Together, we hand squeezed oranges and offered cups of juice to those that passed by. The Park N Squeeze stand was a result of having a shared interest in social relations, local history, and the act of empowering. Along with orange juice, participants were given a single orange seed packet of their own to plant at home.
CameraHeads Project collaboration with ACLU
CameraHeads Project, (collaboration with ACLU) called attention to the growing surveillance of closed circuit television (surveillance) cameras in public places, including Ybor City, FL. As a group we wore 3-foot surveillance cameras on our heads and dressed in brightly colored business suits. We leisurely moved down 7th avenue scanning light poles and building tops for cameras. We performed as if no one was around; not making eye contact with the pedestrians that walk by, but as a group our focus was on the cameras.
Pleasant Terrace; A Conversation of Orange Trees
Pleasant Terrace; A Conversation of Orange Trees, was an organized guided walk that invites participants to investigate and discuss how a residential neighborhood in Temple Terrace, Florida is constructed. As a group we became aware of established physical and social borders. Hand drawn postcards were used to prompt the participants to look beyond the sidewalks and into private residential spaces. At the end of the tour everyone was given a postcard of his or her choice.
Walking Pack and Map
acrylic on wood, 4′ x 4′, 2010