2017
2016
2015
2014
2013
2012
2011
2010
K-Street Project
2009
2008
2007
Shoe Shine Variations
2006
2005
2003
2001
1999
Nothing Clear
In this one hour performance, distilled into a video synopsis, the artist provokes layers of surveillance by assembling black and brown performers to drive slowly through Mount Greenwood, Chicago, where many police officers reside. The drivers, in an ordered assembly of twenty vehicles, observe the neighborhood and disrupt traffic patterns in this sleepy, conservative community. Quietly, while being observed, a team of uniformed police gather on the streets and a police chopper appears overhead. Tensions rise as anxious residents and police seek to gain control over the situation.
A turbulent labor dispute in Elaine, Arkansas in 1919 led to hundreds of killings in the heart of the Deep South. An unmarked mass grave in which many were buried lies in a field outside of town near a rusted water tower. In this video, the artist makes a journey across a budding cotton field to arrive at the subtle burial mound and then, back again. The artist ventures into a hostile space to grapple with the unmarked symbols of systemic oppression.
Eugene Williams, age 17, was stoned to death by white teenagers while floating over to the “white side” of a Chicago beach on July 27th, 1919. On the exact time and date 100 years later, the artist sends a group of performers adrift. Connected by rope in the mighty Lake Michigan, the large ensemble becomes a monument to the moment in which racial difference tore apart the fiber of Chicago. Now, in the present, a mixed-race group struggles to hold together, as the same forces that led to Eugene’s float are still present today.
Fire and Movement retraces the route and narrative of the 1917 Camp Logan Uprising, one of Houston’s most complicated and often misrepresented historical events. The uprising saw African American soldiers of the 24th United States Infantry revolt and attempt to march on the city in response to the abuse from white citizens and the police in Jim Crow-era Houston. In this work, a group of trained performers reenact the militaristic formations and movements the soldiers took, as they sought to gain control of the racist situation.
Preparing to engage with demons of past and present day, This is Not a Drill considers training techniques inspired by the Student Non-violent Coordinating Committee, The Black Panther Party, and Marine Corps. The artist and performers rehearse close-order drills, bo staff training, boxing, and shooter drills to delve into communal strength and find unity through ritualized physical routines. Trained by seasoned Gulf War vets, the performance crew spent months researching and readying themselves. The audience bears witness to the deliberate series of training exercises, as if they walked in upon the preparations for an inevitable fight.
In Sonic Boom, Pinder initiated a spiritual journey that ended up in the very location where it began. This exercise in futility proves to be a rite of passage, as he tests the threshold of a vintage “muscle car.” Accompanied by a local brass band, fanfare and ritual gives way, as the sound of the car engine echoes against the walls of the old Walter Reed Veterans Hospital in Washington, DC. Pinder accelerates the vehicle to the limit, and spectators watch as flames threaten to end the work prematurely.