The At Any Given Moment series explores issues of perception, specifically our relationship to technologically mediated nature. In At Any Given Moment, Grass 2, the repetitive rhythm, tight cropping, and large-scale image emphasize the work’s particular organizational logic in time and space.

At Any Given Moment, Fall 1 is an architectural scale video art installation consisting of video projection and sound. Duration: Continuous loop. Size: Variable; site specific.

At Any Given Moment, Fall 2 is an architectural scale video art installation consisting of video projection, 4 tons of lava rocks, gravel and sand, and sound. Duration: Continuous loop. Size: Variable; site specific.

At Any Given Moment, River 1 is an architectural scale video art installation consisting of video projection and sound. Duration: Continuous loop. Size: Variable; site specific.

At Any Given Moment, River 2 is an architectural scale video art installation consisting of video projection and sound. Duration: Continuous loop. Size: Variable; site specific.

At Any Given Moment, Grass 1, is one in a series of video art installations filmed in Iceland between 2006 and 2008. The At Any Given Moment series explores issues of perception, specifically our relationship to technologically mediated nature. In At Any Given Moment, Grass 1, the repetitive rhythm, tight cropping, and large-scale image emphasize the work’s particular organizational logic in time and space.

At Any Given Moment, River and Fall is an architectural video art installation consisting of three recent works from Méndez’s ongoing series At Any Given Moment: At Any Given Moment, River #1; At Any Given Moment, River #2; and At Any Given Moment, Fall #1. These works explore issues of perception, specifically our relationship to technologically mediated nature.

Never Happened Again is a series of single-channel video artworks shot with a Bolex 16mm film camera in Iceland and Los Angeles between 2006 and 2009. Méndez’s interests in issues of perception expand into the perception of light by the apparatus—16mm Camera—and that of the celluloid.

Never Happened Again is a series of single-channel video artworks shot with a Bolex 16mm film camera in Iceland and Los Angeles between 2006 and 2009. Méndez’s interests in issues of perception expand into the perception of light by the apparatus—16mm Camera—and that of the celluloid.

Never Happened Again is a series of single-channel video artworks shot with a Bolex 16mm film camera in Iceland and Los Angeles between 2006 and 2009. Méndez’s interests in issues of perception expand into the perception of light by the apparatus—16mm Camera—and that of the celluloid.

Never Happened Again is a series of single-channel video artworks shot with a Bolex 16mm film camera in Iceland and Los Angeles between 2006 and 2009. Méndez’s interests in issues of perception expand into the perception of light by the apparatus—16mm Camera—and that of the celluloid.

Recurrence Relation # 1 is a video art installation, where the tenuous image of a male figure emerges from a dense fog. He walks towards the viewer, even at times looks straight onto the viewer, then continues beyond the viewer. The landscape of the barren tundra sits still as birds fly by or land. Seconds later, the figure emerges again, to repeat the same pathway, endlessly.

Short film (3 minutes) based on the myth of Orpheus. Shot primarily underwater. Recipient of the RES FEST 1999 award and premiered in Tokyo, NY, Chicago, and Los Angeles.

This is a love letter sent to Adam in 1996 when he was living in Amsterdam and I in California. We communicated via email, yet the disembodied language of e-mail and a double distance, not only physically but most importantly a distance in time, woke a desperate and silent attempt of making the writing machine into a sensual machine…