Keith H. Doyle

Keith is a sculptor and designer based in Vancouver. A founding partner of I.F. a Vancouver based design firm, he was formerly the Assistant Chair for Operations in the Product Design Department, Parsons School of Design in NYC. There his duties included; management of a student and professional staff, oversight of a 13000 sq/ft facility with the implementation and integration of new technologies into the classroom, faculty relations, exhibition design, logistics and construction, and curricular planning. As a Parsons School of Design faculty, he taught; foundation, junior and senior level furniture design and construction. The Product Design junior level furniture design and construction courses, wrapped this last summer with the construction of; an award winning tradeshow exhibition, which was the prototype of several small dwellings, titled The Little Houses on the Black River that were finished on-site in Hallefors, Sweden. The “little houses” were designed and developed in NYC, partially constructed in Stockholm, delivered and installed permanently on-site in Hallefors, Sweden. He is also a recent Banff new media institute alum, as well as, NYC Dance Theater Workshop ARMlab fellow. Trained as a Sculptor, he has worked assisting in the building of large scale public sculpture in the Midwest, held one person exhibitions of work, participated in many group shows of art, as well as attending the Cranbrook Academy of Art, earning a MFA sculpture in 2000. While in New York City Keith received many private furniture commissions and maintained an ongoing practice of making art, eventually experimenting with video, exploring liminal issues of projected film images of scale architecture.

An ongoing project titled Stillfilms, is concerned with the scaled projected image. The project consists of several short films and still images with little action or no action at all. Each is a ‘still film’ of a scaled scene, processed through digital video editing software in order to leave the faintest trace of time signature.

Last, an ongoing collaboration with the dance-film, documentary filmmaker, and media artist, Evann Siebens, has yielded several effective and productive projects. One, Improv a dance media installation, developed, refined, and constructed while in residence at the Banff New Media Institute, has since been exhibited at the Calgary Art Gallery, in Calgary, Alberta in an exhibition of dance media work this last September. The overall concept of which was explored while in residence at the ARM fellowship program, part of the Digital Media fellowship at Dance Theater Workshop in NY.

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Projects

Improv

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Projects

Improv

2007/08

Improv is a series of dancefilm studies into the movement of dancers / choreographers from the former Ballet Frankfurt (Cora Bos-Krose, Kevin Cregan, Ayman Harper, Amy Raymond, Natalie Thomas and Mario Zambrano). Using sharp, kinetic editing and multiple screens, the film distills the movement exploration that is created in a dance studio. The viewer is given the physical experience of not only being a dancer in a studio, but also a camera person shooting dance in a studio. Another camera recorded their interaction, resulting in a third, voyeuristic layer.

The raw, improvisational film footage from the Ballett Frankfurt studio reflects an exchange between the body and technology and it is this moment of being fully engaged, whether it be with your body or with a camera, that is key to the work. Similar to a musical “jam,” the solo, duets and trios are casual, inspired and at their core, improvisational.

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“The raw, improvisational film footage from the Frankfurt Ballet studio reflects an exchange between the body and technology and it is this moment of being fully engaged, whether it be with your body or with a camera, that I was interested in exploring. Most film or media artists are trained or encouraged to pre-visualize or storyboard their imagery. Contemporary dance artists, to the contrary, are encouraged to work in an improvisational manner. This often creates a gap in the field of dance/film, where film artists are used to working one way and dance artists another way.

Improv was an experiment in a new way of shooting dance, taking the rigor or shooting 16mm film and translating into the casual realm of the dance studio. By synthesizing the formalism of film and dance into almost messy, improvisational context and structure, it has forced me to be succinct, poetic and innovative in my artistic expression.”