https://www.surrenderdorothy.org/projects daily 1.0 2025-09-17 https://images.squarespace-cdn.com/content/v1/5b0349a62487fd5f2753cd89/1526942558525-AMMC07NDCH7WI3CV35IJ/YokomeshiCityscape3.jpg Theater https://images.squarespace-cdn.com/content/v1/5b0349a62487fd5f2753cd89/1526943031206-OLXJ1DF1LCMWGC32A4OA/image-asset.jpeg Theater https://images.squarespace-cdn.com/content/v1/5b0349a62487fd5f2753cd89/1526947654209-RO1GVTHGMVER35KAR3LL/NovaInsulaRoom6.jpg Theater - Nova Insula, 2015 Conceived and created by Mapped Productions Nova Insula is a cinematic deconstruction of The Tempest, interweaving performance, multimedia, and interactive installation. When Shakespeare premiered The Tempest, the world was swirling with excitement for geographical discoveries. In this age of exploration, it was possible that Utopia was real and lying just over the horizon. Today, technology has taken the place of geographic exploration as a means of attaining Utopia. Technology is a new artistic vocabulary, available to most everyone. But is this language right for rewriting Utopia? By viewing the Shakespearian text though the kaleidoscope of video projections, sensory spaces, and live-media interactions, we bring our audience behind the veil and into the world of Prospero’s spirits, where the means of illusion is laid bare. Nova Insula creates otherworldly experiences; our difference is the wonder comes not from the mystery of spectacle, but the poetic lingering between the witnessing how something is created and the resulting illusion. The audience moves through a series of immersive installations, roughly mirroring the five acts of The Tempest, and featuring key characters such as Caliban and Gonzalo. The first scene sets the tone for the show as the audience enters the backstage of a film set where The Tempest is being shot. At the end of the scene, the audience follows the director through a series of dream-like environments, where the questions of interpreting a canonical text in the 21st century are interrogated and explored. Created for the INteatro Festival with the support and sponsorship of: INteatro Festival Marche Teatro Lancaster University Adriatica Service &C s.r.l. Premiered: Ancona, Mole Vanvitelliana (IT) Photos by Vittoria Belli https://images.squarespace-cdn.com/content/v1/5b0349a62487fd5f2753cd89/1527021859683-1HZLW8Y94E7OI711SFR5/BulbsAndBack.jpg Theater - Katabasis, 2014 Katabasis is loosely based on the myth of Orpheus and Eurydice, and tells the story of a decent into the underworld to retrieve a lost love. Set in a distant post-apocalyptic future, Katabasis examines the process of myth formation, and how the vestiges of history are passed down, retold, and become something new. Using a combination of natural materials and technological detritus, Katabasis is an imagining of a possible future that mirrors a half-forgotten past. Written, directed, costume, puppet and prop design by Dorothy Melander-Dayton Set and lighting design by Marco Turcich Performed by Mette Sterre, Cristina Espejo Vindel and Peter Provis Music composed and performed by Will Roberts Permired 2014 at Central Saint Martins Studio Theater, London UK Photos by Andrea Evanglesia and Dorothy Melander-Dayton https://images.squarespace-cdn.com/content/v1/5b0349a62487fd5f2753cd89/1527022109138-ABL3FKHGL61W1HH6YBBW/4_o.jpg Theater - Runner, 2013 Conceived and created by Mapped Productions Runner is a site-specific promenade piece that uses narration and design-led installations to pull the audience into an immersive visual experience. One member of the audience at a time embarks on a journey through a series of hidden and mysterious environments spread throughout the city and the harbour of Athens. The project is based on real world events and is explicit in its engagement with political questions. What are our obligations to act on our political beliefs? And what are the consequences of taking those actions? The show starts in the busy central station: an envelope with cryptic instructions and a map, given by a mysterious man, starts the audience on their journey to flee the country, but will it be in time? https://images.squarespace-cdn.com/content/v1/5b0349a62487fd5f2753cd89/1526946211200-VONSV085ESG5M9VSLUV8/3X9A9846.jpg Theater - Re-Release Party: The Golden Record, 2016 Conceived and created by A Host of People Set and Costume Design by Dorothy Melander-Dayton Re-Release Party (The Golden Record), conceived and created by A Host of People, tells the story of the creation of the golden records which were affixed to the two Voyager space probes that were launched in 1977. The record was an attempt to encapsulate life on earth for an alien or future human audience, at once a grand effort that also highlights our smallness in cosmic arena. Re-Release Party (The Golden Record) (2016) Created and directed by A Host of People with the partial support and sponsorship of: Michigan Council for Arts and Cultural Affairs North American Culture Lab The Mental Insight Foundation The Puffin Foundation Premiered: The Jam Handy, Detroit MI (US) https://images.squarespace-cdn.com/content/v1/5b0349a62487fd5f2753cd89/1527022614070-G2F4ERACUELNXZ30MVDI/_MG_9284.jpg Theater - The Harrowing, 2015 Conceived and created by A Host of People Costume design by Dorothy Melander-Dayton The Harrowing is a site-responsive theatre piece that was created in collaboration with and in eight community gardens across the city of Detroit. The process of creating the piece included devising sessions among the company as well as volunteering in each of the gardens. https://images.squarespace-cdn.com/content/v1/5b0349a62487fd5f2753cd89/1527225721359-XP7DEBY4IDOX4B8HTKK7/WritingAndMarcosDad.jpg Theater - NaCl(Salt), 2014 Created in collaboration by Mapped Productions Devised and preformed as part of INteatro International Contemporary Theater Festival in Polverigi, Italy, summer 2014 NaCl(Salt) is an adaptation of Chekov’s The Cherry Orchard and was created as a site-responsive piece for the historic Villa Nappi in Polverigi, Italy. Structured as an immersive promenade piece, the audience is led through the house and a series of installations by a butler, who is simultaneously a real estate agent. The opulent family history of the past is juxtaposed with the financial ruin and sub-division of the estate of the present in a series of ghostly encounters. Created and directed by Mapped Productions for the INteatro Festival the support and sponsorship of: – INteatro Festival – Marche Teatro – Lancaster University – Adriatica Service &C s.r.l. https://images.squarespace-cdn.com/content/v1/5b0349a62487fd5f2753cd89/1526944668106-853RUDUURGXZRQ97EBQ8/DSC_4157.jpg Theater - Neither There Nor Here, 2018 Conceived and directed by Sherrine Azab and A Host of People Set, prop, and costume design by Dorothy Melander-Dayton Neither There Nor Here is a live cooking show meets memory play exploring notions of identity and family in an increasingly diverse world. Performed by Torri Lynn Frances, Sam Moltmaker, Karilu Salarc, Chris Jakob, Sherrine Azab, Salakastar Salakastar, and Maddy Rager Projection design by Jacob Hooker Lighting design by Chantel Gaidica Choreography and stage direction by Maddy Rager Music by Billy Mark https://images.squarespace-cdn.com/content/v1/5b0349a62487fd5f2753cd89/1527022436800-530R3PWCL80Y1WAM1YEL/6_700_700.jpg Theater - (Uns)table, 2013 Conceived and created by Mapped Productions Uns)table is a multi media performance piece loosely based on Pier Paolo Pasolini’s iconic film Teorema. It takes an ironic look at what happens when a closed structure is infected by an outside influence: six performers construct and deconstruct a series of parallel narratives seated around a dinner table that continually transforms in both form and function. Created with the support and sponsorship of University of The Arts London Premiered: Embros Theatre, Athens (GR) Rabbit Hole Theatre, Athens (GR) Platform Theatre London (UK) https://images.squarespace-cdn.com/content/v1/5b0349a62487fd5f2753cd89/1599160745973-VYRPG8WFJXZ2TRATK9RH/image-asset.jpeg Theater - Cleopatra Boy, 2019 Conceived & Directed by Sherrine Azab & Jake Hooker for A Host of People Set and costume design by Dorothy Melander-Dayton Cleopatra Boy brings to light how women (and other non-straight/white/male) leaders’ histories are re-written, maligned, or erased. The iconic Egyptian pharaoh’s historic, mythic, and fictional representations across time inspired our ensemble to create a performance that speaks to the present moment. A theatrical thought experiment that is part pageant, part courtroom drama; our audience will shape-shift from spectators, to community members, to witnesses as we collectively address the injustice of losing control of our own narratives in order to rethink and remake history. Featuring: Aja Salakastar Dier, Morgan Hutson, Chris Jakob, Costa Kazaleh-Sirdenis, and Eleni theadora Zaharopoulos Chantel Gaidica (lights), Jake Hooker (projections) Dance Director: Maddy Rager Original Music: Costa Kazaleh-Sirdenis Voice Over: Torri Lynn Ashford Additional Text: Kamelya omayma Youssef Cleopatra Boy was made possible with funding by the New England Foundation for the Arts' National Theater Project, with lead funding from The Andrew W. Mellon Foundation and additional support from the Doris Duke Charitable Foundation. https://images.squarespace-cdn.com/content/v1/5b0349a62487fd5f2753cd89/1643934875927-K3A0RLZAX0FKNPHXOH58/51752632080_9e39b706a5_o.jpg Theater - Kilo Batra: In Death More Radient, 2021 Kilo Batra: In Death More Radiant is a theatrical reimagining of the death of Cleopatra, the life of famed Egyptian actress Fatma Rushdie who played her, and the 1927 play by Ahmad Shawqi that dramatized her demise. This play bends the notions of time, gender, and genre to wrestle with history and its reconstructions. Kilo Batra re-imagines the world in and around Egyptian poet and playwright Ahmed Shawki's 1927 play The Death of Cleopatra and puts it directly in conversation with issues of contemporary Arab culture and beyond. Commissioned by A Host of People and the Arab American National Museum Written by Mariam Bazeed with Kamelya Omayam Youssef Directed by Sherrine Azab Set, Prop, and Projection Graphics by Dorothy Melander-Dayton Projection Design and additional graphics by Jake Hooker Costume Design by Levon Kafafian Lighting Design by Chantel Gaidica Dramaturgy by Amanda Ewing Composed by Donia Jarrar Stage Management by Emily Erlich and Shardai Davis Assistant Director Rasha Almulaiki Performers: Faith Berry, Zeina Fawaz, Chris Jakob, Sam Watson, Frank Sawa, Mariam Bazeed, and Kamelya Omayam Youssef https://images.squarespace-cdn.com/content/v1/5b0349a62487fd5f2753cd89/1526945491472-ZNIXGPJ34SCRGX8CGS7N/Jellopyramid1Web.jpg Theater - Institute of Anti-Entropic Anomaly (AEA), 2016 The Institute of Anti-Entropic Anomaly (AEA) is a site-responsive, immersive, participatory performance piece that examines the impossibility of historical truth. AEA responded to the narratives about the city of Detroit and was staged in the basement of Light Box, a building that served as a bank and a succession of churches before its current incarnation as an arts’ venue. As a transplant making work in Detroit, I was motivated to examine my role and impact as a maker of performance in a city that is fighting for the right to define itself on its own terms. The performance’s central conceptual conceit is of an archaeological excavation of a tomb discovered in the basement of the venue. The audience was invited to explore the dig site, where they uncovered artifacts from both a real and imagined past. The origin of the tomb is unclear: perhaps ancient, or more intriguing, a remnant of the far future in a nonlinear universe, a relic of a time yet to come. The experience for the audience is one of exploration and introspection. Through a series of guided interactions, such as excavating pyramids made of Jell-O in search of their individual truths, filling out medical history-style questionnaires that probe preconceptions and biases about place and history, or witnessing a ritual in which a body is either examined, embalmed or resurrected. Ultimately, the audience are active participants in telling the story of the performance, the site, and the wider context of Detroit. Conceived and directed by Dorothy Melander-Dayton Dramaturgy by Simon Alexander Adams, Dorothy Melander-Dayton, Drew Walker, and Renee Willoughby Media interactions by Simon Alexander Adams Set design by Simon Alexander Adams, Dorothy Melander-Dayton, and Renee Willoughby Costume design by Dorothy Melander-Dayton Devised and performed by Simon Alexander Adams, Torri Lynn Ashford, Aja Dier, Dave Sanders, Cathy Taister, Drew Walker, and Renee Willoughby Premiered at Light Box, Detroit MI, 2016 Photos by Dorothy Melander-Dayton https://images.squarespace-cdn.com/content/v1/5b0349a62487fd5f2753cd89/1527109106510-RJ0H7CYSSC8E6DNWLDJS/IMG_3735.jpg Theater - Homo Sacer, 2016 Conceived and directed by Marco Turcich Designed and produced by Mapped Productions Homo Sacer is a live-filmed theatrical performance that uses camera and projected live-feed footage to examine the effects of media on our perception of global events. Homo Sacer asks the question of what it means to make live theatre when our world is defined by film and television. Using the current European refugee crisis as our subject, we examine how ordinary people and families are portrayed and react to the mediated narratives. The great power of digital media is that it has the ability to bring events and people that are distant into our personal lives and spaces. Created with the support and sponsorship of: Marche Teatro Lancaster University Stalker Theatre, Officine Chaos,Turin Premiered: Officine Chaos, Turin (IT) https://images.squarespace-cdn.com/content/v1/5b0349a62487fd5f2753cd89/1669061269774-AR67QDNU2Q2CWDBVBI4Q/IMG_5993.JPG Theater - Falling Sideways We came across a trove of mysterious astronomical research some time ago — materials hoarded by a scientist with crackpot brilliance whose theories initially seemed ludicrous. But the more we dove into his drawings and designs, the more engrossed we became. Until we put one of his theories to the test — and this event series was born. He claimed to have found a planet that had fled from its siblings and was on an unexpected course, catapulting away from its original elliptical path around its sun. The planets left behind in its solar system soon struggled to stay in their orbits, compensating for the sudden imbalance in their gravitational forces with explosive shifts and ruptures in their mountain ranges. What he found next was startling: The planets were sending out distinct wavelengths that were both unique and conjoined — a kind of loop, or lasso, which they cast out into the universe until it coincided with the path of the planet, where they would capture it and draw it back into their rein. For this they needed to pass through a resonating chamber which would not only snare the planet but also offered us the opportunity to listen in on their narrative exquisite corpse — and give us a means to guide the planet through to safety. In an abandoned train tunnel in Ohio, we tested this theory and were treated to a surprising landscape of auditory wonders. Feeling the presence of the renegade planet brought us to the edge of a cosmos whose invisible spectacles, for just a moment, became tantalizingly and wondrously real. Conceived, directed, written and composed by: Julia Solis and Christos Pathiakis Head Apparatifier & Web Designer: Tom Kirsch Production Coordinator & Lighting Designer: Kim Couchot Props & Sculptures: Tracy Gilman Projections: Bryan Parcival Riggers: John Law, Christopher Beauchamp Graphics & Artwork: Dorothy Trojanowski Set Decoration, Props, and Sculptures: Dorothy Melander-Dayton Trog-in-Chief: Eleanor Lovinsky Programming & Gamma Rays: Eric Singer Logistics: Mike Whalen Designer & Best Man: Eduardo Cunha Shuttle Engineers: Gayle Snible, Susan Dundon Poet Laureate: Mïï Gunn Cottis Groundskeeper: Drew Feuer Tea & Parallax Conjectures: Joshu DeLeon Navigators: Leah Marino, Christine Felton Master of the Mill: Bill Daniel Text courtesy of Seafoam Palace Capricorn sculpture by Dorothy Melander-Dayton and Julia Solis, Berlin 2022 https://images.squarespace-cdn.com/content/v1/5b0349a62487fd5f2753cd89/1671047296557-69WSQ7YQ0QLDG7JLN139/Copy+of+P1600259-1-2.jpg Theater Conceived & Directed by Sherrine Azab & Jake Hooker Created with: Performers: Bréon LaDawn Canady, Chris Jakob, Siena Hassett, Bethany Joy Hedden-Clayton, Asia Mock, Sam Waylon Watson Design and Production Team: Director: Sherrine Azab Co-Director & Projection Designer: Jake Hooker Co-Set Designer & Costume Designer: Dorothy Melander-Dayton Co-Set Designer & Technical Director: Charlie Gaidica Lighting Designer: Chantel Gaidica Associate Lighting Designer: Scott Crandall Script Contributions & Dramaturgy: Corinne Donly Dramaturgy: Amanda Grace Ewing Production Manager & Dance Director: Maddy Rager Composers: Supercoolwicked & Salakastar Stage & Ensemble Manager: Vanessa Mukes Sound Engineer: Amari Harris Press Rep: Julién Godman Graphic Design: Renee Willoughby Build and Design Support: Jonathan Davidson, Renee Willoughby Additional contributions from: Sean Rodriguez Sharpe, Karilú Alarcón Forshee, Frank Sawa Supported by: The Knight Foundation National Endowment for the Arts Additional funding by the Mental Insight Foundation and Michigan Arts & Culture Council https://images.squarespace-cdn.com/content/v1/5b0349a62487fd5f2753cd89/1758147743003-8DLEZPP4I3DA44BD0W42/image-asset.png Theater - City In My Mind A poetic travelog of an individual’s experiences of the city of Taipei, Taiwan. Made as the culmination of 2 months as artist in residence at the Puppetry Art Center of Taipei and Treasure Hill Artist Village. 2025 https://www.surrenderdorothy.org/sculpture-installation daily 0.75 2026-01-27 https://images.squarespace-cdn.com/content/v1/5b0349a62487fd5f2753cd89/1526948025435-XK5N1SU3MHU4JUZ9UCJ5/SaintElsewhereDetail2.jpg Sculpture and Installation - The Martyrdom of Saint Elsewhere, 2017 Installation piece created as an artist in residence at Elsewhere, Greensboro, NC The Martyrdom of Saint Elsewhere was created in response to the core ethos of Elsewhere and its Collection. It explores the sacred nature of the Collection and the value of its preservation, even in a sometimes broken state. When a glass is broken the shards are saved; as the building ages, plaster and masonry may be collected in jars. The sacred fragment is a universal tradition (i.e. the veneration of reliquaries in the Catholic faith). While Elsewhere is a secular entity, it honors the religious impulse in its daily function and its approach to materials and art making. I created an archetypical embodiment of Elsewhere’s tenants by utilizing the clothes and ribbons of the collection. Saint Elsewhere, like any good Catholic martyr, attains holiness through physical trauma. The entropy of the collection evidences the trauma to Saint Elsewhere. As is demonstrated in Bernini’s Ecstasy of Saint Teresa, the ruination of body can be both sexual and spiritual. I have illustrated this transgression through means of an old wedding dress, a traditional embodiment of purity and virginity. I have done so by using ribbons coming out of back of the garment and the palms of the accompanying gloves. The wounds are physical: vulva, stigmata. They are also spiritually transformative: sex, birth, death, and trauma. Occupying the space with the figure are a wheelchair and crutches, referencing bodily injury and incompleteness. Yet, the wheelchair is festooned with ribbons and silk, transforming it into a throne with wheels. It sits vacant, as if its occupant stepped free of its necessity. Also, the crutches in the corner appear abandoned by their owner, no longer required for ambulation. The room at Elsewhere becomes a shrine honoring the damaged and broken, elevating them to transcendence. https://images.squarespace-cdn.com/content/v1/5b0349a62487fd5f2753cd89/1527272723485-OE4S3O6CLH61PBIVM10U/Detail3.jpg Sculpture and Installation - Hybrids, 2014 Hybrids installation at Seafoam Palace, Detroit, MI 2017 Hybrids was made during and as a response to six weeks spent in Oaxaca, Mexico, as part of Arquetopia International Artist Residency program. Hybrids explores identity formation by means of mythology and religion. Crafting a sense of self, both as an individual and as a collective requires an ordering and editing of the world in which we live. We create stories, myths, describing that process. These myths tell us who we are and who we wish to become. The materials composing Hybrids were found or purchased in Oaxaca, often from the numerous and abundant markets. Transforming and altering these traditional as well as mass-produced products, they are ascribed new meanings and connotations, creating a hybrid, imagined past, which is at once an honest attempt at understanding a foreign culture as well as a critique of western ideas and practices of colonization and anthropology. Created as part of Arquetopia International Artist Residency https://images.squarespace-cdn.com/content/v1/5b0349a62487fd5f2753cd89/1688074991101-L1SR5LLNCC6HJR9J8XIZ/Claw3%3A4Frint.jpg Sculpture and Installation - Transubstantiation, 2020 Transubstantiation was a result of by my time as an artist in residence with Six Stone Art Space in New Taipei City in late 2019. I was inspired by the temple architecture as well as the preponderance of arcades housing the ubiquitous claw machines. This piece notions of capital and exchange as they are practiced in these two types of sites. I researched the symbolic exchange of capital and goods in the context of Confucianism and how that contrasted or mirrored the ideas of luck and chance when interacting with the claw machines. In addition to these theoretical parallels, I saw similarities in site and form. Both temples and arcades are widely prevalent throughout the city. Both utilize bright colors and lights in their design. The items inside the claw machine consist of items I collected in Taiwan as well as from my personal collection. I chose items that had a symbolic meaning to reference the various cultural and historical influences that have acted on Taiwanese culture. Plastic puppet heads from the market are interspersed with mini Dutch wooden shows, a Chinese lion, a Sheriff’s badge and a Japanese lucky cat. All of the color and texture come together to intice the player to try their luck and maybe win a prize. https://images.squarespace-cdn.com/content/v1/5b0349a62487fd5f2753cd89/1720486540283-NNAEFD020318Q9K1N026/ReliquaryBoxFrontBothModalities.jpg Sculpture and Installation https://images.squarespace-cdn.com/content/v1/5b0349a62487fd5f2753cd89/1769475267130-IHVW4CO3NLQ514K1Z4S8/GojiraHelmet1.jpg Sculpture and Installation - Gojira Samurai (Helmet), 2024 Doll composed of PVC tube, aluminum foil, epoxy clay, elastic, metal springs, bolts, plastic eyes, magnets, spray paint and synthetic wig. Costume composed of fabric, cardboard, aluminum foil, epoxy clay, ribbon, thermo plastic, magnets, snaps, trim, acrylic paint, and toy katana sword. This doll and costume were inspired by a visit to Kanazawa, Japan, in 2018. I went to a photo studio and had my portrait taken as a samurai. This is a popular tourist activity in Kanazawa, for Japanese and foreigner alike. It was somewhat unusual to be a woman dressed as a man, but the samurai armor was much more elaborate and exciting as an opportunity to play dress-up. https://images.squarespace-cdn.com/content/v1/5b0349a62487fd5f2753cd89/1769476431486-I1F9249E8TIYRUGHLBF0/OctosaintDetail.jpg Sculpture and Installation - Saint Ursula of the Many Arms, 2023 Antique wooden santo figure with costume crafted from fabric, beads, foam insulation, wire, sequins, thermoplastic, and synthetic wig. I was given an antique Mexican santo doll by my mother. These dolls were designed to be dressed and posed, with jointed arms and below the torso is a frame for the skirt. I was inspired to create my own regalia for this doll and chose to make her a cephalopod because of the eight spokes for the dress frame. It was important to make the costume removable and non-damaging to the original wooden doll, but I also wanted to completely transform the surface, so I created a mask and gloves to completely obscure the wooden surface of the doll itself. https://www.surrenderdorothy.org/video daily 0.75 2022-03-11 https://images.squarespace-cdn.com/content/v1/5b0349a62487fd5f2753cd89/1599071347467-6V6BGUP3FLJWHU2BARST/image-asset.png Video - This Is How The World Will End, 2020 This Is How The World Will End is a puppet film originally made for the Detroit Puppet Slam in April 2020. The concept for the project was to make three miniature environments, all featuring camping tents, and to invite three artist collegues to create ghost stories inspired by the scenes. Each collaborator then shared the story with me, and I created shadow puppets that illustrated their story from inside the tents. Stories (in order of appearance) by: Magritte Jaquet Renee Willoughby Sun Vuong (王善) With Cinematography and VFX by: Luke Fitch https://images.squarespace-cdn.com/content/v1/5b0349a62487fd5f2753cd89/1578442993964-1OAPCILETQSDTC2D8QXM/image.jpg Video - Empty Orchestra, 2019 This video was inspired by my time spent in Japan, researching and developing the live performance piece, Yokomeshi: A Meal Eaten Sideways. Empty Orchestra takes the themes and some of the content from the live show and re-imagines it as a karaoke backing video. Empty Orchestra and Yokomeshi are companion pieces, each exploring a broad and complicated set of topics from different perspectives and using different artistic means. Empty Orchestra examines the perceptions that different cultures have of one another through the means of popular music. The idea of being Japanese or being from the west is explored from different perspectives in the songs “Turing Japanese” by The Vapors (1980) and “U.S.A.” by Da Pump (2018). While The Vapors were a British group, the song fits a general Anglo-American ideology, and was very popular in the United States. https://images.squarespace-cdn.com/content/v1/5b0349a62487fd5f2753cd89/1647024176281-QXL9UFJH6KMBJ4KSK4VP/image-asset.png Video - Saajtak - Big Exit (Official Video) Composed and produced by Saajtak Video by Dorothy Melander-Dayton and Luke Fitch https://www.surrenderdorothy.org/new-gallery-43 daily 0.75 2023-06-29 https://www.surrenderdorothy.org/new-gallery-69 daily 0.75 2023-06-29 https://www.surrenderdorothy.org/new-gallery-34 daily 0.75 2023-06-29 https://www.surrenderdorothy.org/collage daily 0.75 2026-01-27 https://images.squarespace-cdn.com/content/v1/5b0349a62487fd5f2753cd89/1527023371082-0PW8KSG1DZ9Q70NWDLQ5/IMG_0986.jpg Collage https://images.squarespace-cdn.com/content/v1/5b0349a62487fd5f2753cd89/1669055066357-XLKCZUBDPBICKIWMSH6J/TrainsOnTime_2.2.jpg Collage - The Trains Run on Time, 2022 These two collages were created for a group exhibition, The Architecture of Travel, presented by the Bauhaus University in the Weimar Hauptbahnhof, Weimar, Germany. This exhibition by a group of international artists was created out of a two week intensive research and exploration of the German train network, the Deuchesbhan, in the region of Thuringia. Trains modernized our conception and experience of time and space. The Trains Run on Time explores the collapsing of spatial and temporal boundaries through the infrastructure of the railways. The function of a map is to show where one is in space; train timetables orient in time. The present is an ever-shifting target, with past and future eroding its edges. The collage of maps and rails are an interpretation of this space-time lensing and invite passengers to locate themselves within them. https://images.squarespace-cdn.com/content/v1/5b0349a62487fd5f2753cd89/1720395638204-O3XOBRCKP19WUK1X3A3C/image-asset.jpeg Collage - Welcome to the Bright Light 24 x 19 inches, collage and acrylic marker on paper 2024 https://www.surrenderdorothy.org/about daily 0.75 2022-12-16 https://images.squarespace-cdn.com/content/v1/5b0349a62487fd5f2753cd89/1527193530344-C1K8018R4YIK6WQAC8QJ/DJ8A5748.jpg About photo by Antoinette Brock https://www.surrenderdorothy.org/contact daily 0.75 2018-05-25