This site specific commissioned piece for Vizcaya Museum considers elements of the space that transcend both histories and references the owner of the estate, James Deering and his sense of irony. The installation is inspired by the Latin inscription on the sundial above Deering’s balcony on Vizcaya’s east façade. The text by Roman poet Horace “Dona præsentis cape lætus horæ aclinque severe” (“Take the gifts of this hour. Put serious things aside.”) is represented in a neon sign.
Horace’s ancient advice anchors the Enclosed Loggia to both its historic and contemporary context, serving as a touchstone to examine the estate’s fantastic, recreational heritage. Bathed in the glow of neon, the viewer is invited – even encouraged – to surrender to a leisurely experience and enter into a dialogue with the house and the majestic world contained within.
45" x 45" x 45"
Wolfsonian Museum--FIU, Miami
This site specific piece activated the landmark Bridge Tender House, located at the front of Wolfsonian Museum on Miami Beach. Historically, the concept of Orange Oratory stems from a 1939 Miami Herald article announcing the opening of the 27th Avenue Bridge over the Miami River, the original home of the Bridge Tender House.
Headlined “Fruit Juice and Oratory to Feature Span Opening,” the article detailed organizers’ choice of fresh-squeezed orange juice—a signature South Florida thirst quencher—to toast the new architectural landmark with city officials and the Miami community.
A contemporary reimagining, Orange Oratory takes form as a neon sculpture suspended inside the Bridge Tender House, creating a bright orange beacon that connects to this historic moment.
The Pleasure of Text
Mixed media installation, 2016
Transformer, Washington, DC
This site specific curated library of artist’s books was installed at Transformer Gallery in Washington, DC. Taking inspiration from Roland Barthes book, The Pleasure of Text highlighted critical contemporary arts discourse led by artists. The books were utilized as a resource for browsing and inspiration, and the room was anchored by a large table for Transformer’s summer writing workshops, to facilitate & promote community exchange through critical arts dialogue.
Miami of Tomorrow
Offset on duralit, 2016
Series of 17 posters, 35” x 47”
DuPont Building, Miami
Miami of Tomorrow is a public art commission installed in the lobby of downtown Miami's historic DuPont Building and is the result of a unique collaboration with Lemon Yellow, in partnership with Tiliarts. Backlit posters activate the lobby's jewelry display cases, formerly used for advertising, to create a series of high impact text pieces. The work gradually transitions from one color gradation to the next in response to the architectural surroundings, providing a stimulating sensory experience. The displayed texts were generated by an EXILE zine workshop in the building’s old Florida National bank vault. Here, using vintage advertisements culled from it’s own archives as well as the HistoryMiami Museum, artists examined ephemeral documents featuring the DuPont. These materials were then recontextualized into new zines with select pages showcased in the exhibition. As visitors pass through the lobby and engage with the narrative, we hope you will construct your own story about our city, and that Miami of Tomorrow will provide an expansive palate for what we all envision for our future.
Stage light projections, 2016
The Arsht Center, Miami
For her first foray into lighting design, Keeley collaborated with Peter London Global Dance Company and engineer Josh Gumbinner for a special performance "Spring to Light" set to Stravinksy's The Rites of Spring. Taking inspiration from color theory and the modernist set designs of Martha Graham, the performance began with pure white projection highlighting the dancer's bodies. This shifted gradually to produce abstract shapes, overlapping to develop deep saturated colors that spanned the full spectrum and finalized back to clear white.
Mixed media installation, 2015
80" x 144" panel piece, other dimensions variable
De la Cruz Collection, Miami
This intervention took place at the de la Cruz Collection, where Keeley installed a temporary screen printing studio, complete with custom designed furniture and book shelves.
Students were invited to participate in live printing sessions, where they were taught the how to print and assist in creating a new work which was installed on site.
The print shop equipment was donated to the Little Haiti Cultural Center, and the room was transformed into a reading room where visitors were invited to browse a selection of curated artist's books.
Ice, books, paper, objects, wood, 2014
84” x 72” x 36”
Bas Fischer Invitational, Miami
The Frozen Archive was a site specific ice sculpture created at Bas Fisher Invitational gallery for the opening reception of the exhibition Books Fuel Ideas. I invited artists Lizzi Bougatsos, Eve Fowler, Sam Gordon, and Katerina Llanes to contribute items that were placed in the bays of a solid frozen bookcase. The piece took over 24 hours to melt, accompanied by a soundtrack by Bougatsos. The ice slowly melted away, the piece collapsed and the objects left behind remained on the platform, utilizing the principles of chance operations to generate the work.
Digital, Polymer Plate Lithography, Chine-Colle, Relief, and Collage prints, 2018
30" x 22"
Kala Art Institute, Berkeley, California
This series of prints was executed while in artist-in-residence at the Kala Art Institute in Berkeley, California. I experimented with combining traditional printmaking techniques with new technology. I had the opportunity to review some of the archives of the legendary composer/artist John Cage and decided to utilize Cage’s principles of chance operation to create a new series of prints that depict invented performances.
I appropriated imagery of early 60’s modern dance choreography that was sourced from the Berkeley reference library to create large scale digital prints. I collected remnants of older print projects and would throw these remaining pieces up in the air to randomly fall on the press bed, adhering these onto the digital prints exactly where they landed, allowing chance to generate the work independent of the artist’s will.
Chin-collet, relief, and polymer plate lithography on paper, 2013
30” x 22”
Blackburn Printmaking Studios, New York City
This series of work began exploring archaeological narratives, juxtaposing images of classical modern architecture with figurative movements. I emphasized gestural lines and structural severity with embossed relief colors. Using traditional techniques in unconventional ways, the prints create a space for these two oppositions to interface freely, dismantling the constructs of historic architecture and figurative movement into vertigo inducing “psychobuildings”. This series also works to collapse the constructs of time and space, doubling as a documentation of performances that have yet to take place by providing a platform for exchange between historical architecture and figurative movement.
Screenprint on Tyvek, 2012
Fitzroy Gallery, New York City
Stereogram Floor was a site specific installation created for “For January, Just Ask Alice”, an exhibition curated by Amy Granat and Joao Sims at Fitzroy Gallery in NYC. The imagery is based on New York University’s Elmer Holmes Bobst library marble stereogram-patterned floor. The floor has a troubled history, being the site of several suicides which manifested some dark rumors about the nature of the design. By recontextualizing this mythological floor and mounting it to the gallery floor, a trompe l’oeil was created which records the audience’s footpaths as the ink slowly wears away with each visitor. The gallery hosted several performances, generating foot traffic that wore away the print and escalated the form of organic decay.
Screenprint installation, 2012
Taps Gallery, Brooklyn, NY
This site specific installation was created for a pop up gallery started by curator artist Coco Dolle. I asked several friends for their dream band names and created fake show posters, pasting them floor to ceiling with a design that reflected the gallery facade 1980’s glass window blocks. I then added a platform stage and a snare drum and let the audience activate the piece. Several performances and band practice sessions were conducted in the space for the duration of the exhibition.
Non-existent Censored Library
Graphite on paper, laser cut form core, 2014
36” x 48” x 14”
This sculpture was based on a list of books that I was provided by a bibliophile whom I had been introduced to via the internet. The individual believed that the government was persecuting him because he had a library of illegal or censored books. When he finally sent me the list 92 of titles and authors, I discovered that none of them existed.
Little Magazine Covers
Screen prints on paper, 2012
Lower East Side Printshop Gallery, New York, New York
My investigations focused on the early part of the twentieth century when literature and artistic reviews were the primary means by which the creative community exchanged ideas and remained in communication. In 1915, New York City had become a refuge for European artists seeking to escape the war. During this tumultuous and extremely prolific time period, many self-published artistic journals were created. These publications were radical and provocative- their anarchistic voice still reverberates today. They were forward thinking and decidedly utopian, discarding much of what existed before them to embark on new terrain.
Most of the journals were only published once or were discontinued after a few issues. This series forges the next issue, the magazines that ceased to exist. These counterfeit publication covers reflect the avant-garde vision of their creators and the time period in which they were conceived.