Procrustean Bed

Video documentation by Robert Kirkbride

Miolina & Melissa Grey performance documentation of Procrustean Bed at the National Opera Center-Scorca Hall on March 8, 2017 in observance of International Women’s Day.

Procrustean Bed was created by composer Melissa Grey and artist-animator Nicole Antebi for Lynn Bechtold & Composers Concordance. Performed by Lynn Bechtold [violin] & Melissa Grey [live processing, Merlin]; at San Diego Central Library Auditorium, CA, 2016.04.08 [world premiere]

Composers Concordance at The New West Electronic Arts & Music Festival | Music & Myth


Procrustean Bed, a performance for violin, Merlin, and live processing, with animation by the artist Nicole Antebi, is a collaborative work based on the myth of Procrustes, the subduer, the stretcher, the rogue metalworker who either cut or stretched his guests’ legs to fit the specific size of an iron bed. The phrase is used in several disciplines to convey an arbitrary standard to which exact conformity is forced. Merlin, performed by Melissa Grey, is a handheld computer game from the late 1970s that was one of the earliest digital sequencers. In Music Machine mode, there is a limit of 48 pitches. This constraint is subdued or stretched to fit our procrustean bed.

Dead Horse Bay: The Glass Graveyard of Brooklyn

“The Beach That Speaks” An Excerpt from Brian Thill’s Waste; Animated by Nicole Antebi


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Produced for “Dead Horse Bay: The Glass Graveyard of Brooklyn” curated by Allison C. Meier

February 1st – April 1st, 2017

Curated by Allison C. Meier

Opening reception: Wednesday, February 1st from 6-9pm.

On view: February 1- April 1, 2017

Exhbiting artists include: Nicole Antebi, Gerard Barbot, Alex Branch, Yael Eban, David Horvitz, Nathan Kensinger, Jackie Mock, Rose Nestler, Rachel Owens, Amanda Patenaude, Anna Riley, Mark Splatter, and Brett Swenson

It is easy to forget Dead Horse Bay exists. Cradled by a slender curve of shore on the southern edge of Brooklyn, between Marine Park and Jamaica Bay, it feels sequestered from the rest of New York City. Except every aspect of Dead Horse Bay is embedded with the city’s history, from its topography shaped by Robert Moses, to its name referencing the horse rendering plants that were among many unsavory businesses that disrupted its ecology in the 19th century. And then there’s the trash strewn on its beach, where everything not decomposed since the landfill beneath was closed in the 1930s is slowly revealed by the waves.

When walking along the shore of Dead Horse Bay, you soon hear the clinking sound of glass bottles as the Atlantic Ocean laps against the sand. On the beach, there is glass of every variety, from amber bleach jugs to delicate and clear perfume bottles, to green soda bottles, and blue medical bottles. Nowhere else in the city, perhaps, is the connection of glass to our daily lives so evident, as in this detritus of lives lived decades ago.

Dead Horse Bay is essential to explore now, as it is a site of disparate tensions. There are the plants and animals attempting to live alongside the visible pollution, and the consideration of greater planetary concerns with climate change threatening rising currents, which could submerge this strange place. And there’s the conflict between artists who use this as a resource and site of inspiration, and those who see it as protected as any federally-controlled park, even if it’s toxic litter. Finally, it’s the idea that in a city so dense, so developed, that there are these overlooked locations that remain, that are unpleasant and ignored, yet can tell us so much about our history and our individual impact on the world. Now our trash is mostly whisked away from the city, seemingly vanishing; here is evidence that it does not go away.

As an exhibition theme, Dead Horse Bay offers a chance to examine reuse of glass, the history of glassware in consumer goods, and how the sonic and tactile experience with glass at the place, in all its luminous colors, can be an unexpected muse.

About the curator: Allison C. Meier is a Brooklyn-based writer focusing on the arts and overlooked history. Currently, she is staff writer at Hyperallergic, and moonlights as a cemetery tour guide at New York burial grounds. She’s also worked as the senior editor at Atlas Obscura and has published stories for the New York Times, Art DeskARTNewsNarrative.lyBrooklyn Based, the Oklahoma Gazette, Oklahoma Today MagazineBust, and others.

Image credit: Triple Canopy and Phoebe d’Heurle

Waste by Brian Thill 2015 Bloomsbury Object Lessons 

sator, arepo, tenet, opera, rotas or Magic Square

The Sator or Magic Square: sator, arepo, tenet, opera, rotas, is a palindrome that can be read top-to-bottom, bottom-to-top, left-to-right, right-to-left and in a boustrophedonic, continuous back and forth. The earliest example of the ancient phrase was found in the ruins of Pompeii and in the excavations under the church of S. Maria Maggiore in Rome. It is often referred to as a Magic Square for its historic use as a device invoked in magical incantation.

The Magic Square, a recent visual music collaboration between Melissa Grey (sound), Nicole Antebi (animation) and featuring music by electronic music pioneer, Vince Clarke, premiered at The Morbid Anatomy Museum on May 19, 2016 along with an illustrated lecture by Colin Dickey on the history of magic squares and the mystical powers of palindromes.

Recent projects/events/screenings/exhibitions

Tilapia Jetty

Tilapia Jetty still

Tilapia Jettypart of the exhibition “California: The Art of Water” at the Cantor Arts Center

July 13, 2016 – November 28, 2016

This major exhibition is devoted to artistic portrayals of California’s most precious—and currently scarce—resource. It presents more than 70 works by eminent artists including Ansel Adams, Albert Bierstadt, David Hockney, David Maisel, Richard Misrach, and Carleton Watkins, and features images from a variety of regions around the state, during the Gold Rush to the present. The exhibition offers a compelling aesthetic experience set within debates about water that have spanned the 19th century to the present. It is also accompanied by an array of public programs designed to raise awareness and appreciation of California’s complicated water issues.

Click to read more information



Procrustean Bed

Visual music collaboration with experimental composer and performer, Melissa Grey and featuring Lynn Bechtold on violin. Premiering at NWEAMO Festival 2016 at the New San Diego Central Library April 8th-9th

Screen Shot 2016-03-25 at 5.14.04 PM___________________________________________________________

The Magic Square, An illustrated lecture and Screening with Colin Dickey, and the world premiere of Magic Square, a Visual Music collaboration between Nicole Antebi, Vince Clarke, and Melissa Grey.

magic square poster2

Date: Thursday, May 19th
Time: 7pm
Admission: $8
Location: Morbid Anatomy Museum, 424 Third Avenue, 11215 Brooklyn

The Sator or Magic Square: sator, arepo, tenet, opera, rotas, is a palindrome that can be read top-to-bottom, bottom-to-top, left-to-right, right-to-left and in a boustrophedonic, continuous back and forth. The earliest example of the ancient phrase was found in the ruins of Pompeii and in the excavations under the church of S. Maria Maggiore in Rome. It is often referred to as a Magic Square for its historic use as a device invoked in magical incantation.

Colin Dickey will present an illustrated lecture on the history of magic squares and the mystical powers of palindromes followed by the screening premiere of Magic Square, a recent visual music collaboration between Melissa Grey (sound), Nicole Antebi (animation) and featuring music by electronic music pioneer, Vince Clarke.

Facebook invite:


Looking Local: A Library of Place

Pigeon new
Passenger Pigeon Commemorative Plate
The Last Menagerie‘s Passenger Pigeon along with LJ Moore’s accompanying text will be on display at  Looking Local: A Library of Place an exhibition that brings together a diverse group of artists, writers, and photographers whose practices all have a connection to a specific place. The show is being hosted by Press St, Room 220 and Antenna Gallery in New Orleans- It opens April 9th, 2016 6-9pm. Please stop by if your in the area before May 31st! Curated by Sea Farm City.
*Sea Farm City is Katie and Matt Allison’s new online gallery and editions shop. Sea Farm City is based on the notion that any art lover can be an art collector. 

Fred’s Rainbow Bar and Other Stages on the International Border 

Fred’s Rainbow Bar and Other Stages on the International Border is a part animated, part live action film project about growing up in El Paso during the early 1990s. Funded in part through a generous grant from The Jerome Foundation, the film is largely about the politicized landscape and infrastructure of El Paso, New Mexico and Juárez and the river that bisects and connects these disparate spaces. Several locales along the Rio Grande set the stage for this story. More information about the project and clips coming soon.

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double boundary makrer

Double Boundary Marker attached at the base with a level containing water gleaned from the river with two names. The double marker was submerged (and hopefully dissolved) in Marie Lorenz’s Flow Pool at Recess this Thursday in conjunction with Underwater New York.

Animistic Thinking and Landscape: Video installation at College of the Redwoods Sept 28-Nov 5 (2015)

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Production stills from The Eucalypt

Press Release:

The College of the Redwoods Art Gallery will present an exhibition titled “Animistic Thinking and Landscape: Videos about California History and Mythology” by Nicole Antebi. The exhibition will run from September 28 to November 5, with a public lecture and reception for the artist on October 20.

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Installation view

This exhibition by Brooklyn-based interdisciplinary artist Nicole Antebi features an installation of three animated experimental documentary videos with accompanying drawings, paintings, sculptural models and handmade books. Antebi works in non-fiction animation, motion graphics, and installation, and as an artist describes herself as “a student of magical thinking and landscape.” Her work investigates the ways in which our culture has embraced popular legends and mythological thinking in shaping environmental policy and how our state’s land is used. Her meticulously researched, hand-drawn video animations deftly blend both the fictional and the historical in describing distinct narratives about California history and ecology, including a story about the ceremonious arrival of the invasive Eucalyptus Tree in California, the history of the Sunol and Pulgas Water Temples in the San Francisco Bay Area, and also a curious legend surrounding William Mulholland—the controversial figure who brought water to the Los Angeles Basin in 1913. Antebi’s work is mysterious, engaging, and compelling for its level of historical accuracy, and also fascinating for its careful unearthing of some of California’s long-buried historical narratives and myths.

CR Exhibit Eucalypt
Installation view with The Eucalypt screening

Nicole Antebi’s work has been shown at Hive House Los Angeles, the High Desert Test Sites in California, The Manhattan Bridge Anchorage, Teeny Cine’s converted trailer, Portable Forest, a Texas Grain Silo, and in the cabin of a capsized ship at Machine Project in Los Angeles. In 2015, Antebi was the animator-in-residence at Circuit Bridges, New York and she has also been recently awarded a Jerome Foundation Grant in Film/Video for her animated film about El Paso and Juarez in the early 90’s.

CR Exhibit Mulholland
Handmade book covers, "Uisce" bottle and drawings from 
Uisce Beatha: A Mulholland Bestiary

Nicole Antebi will give a free public lecture about her work from 4:00 p.m. to 5:30 p.m. on October 20, 2015 in CA 139 in the Creative Arts Complex on the Eureka campus, with a reception in the Art Gallery to immediately follow. All are invited to attend. The exhibition runs from September 28 to November 5, 2015, and the gallery hours are Mondays and Tuesdays noon to 5:00 p.m., Wednesdays 9:00 a.m. to 11:00 a.m. and 1:30 p.m. to 4:30 p.m., and Thursdays from 10:00 a.m. to 3:00 p.m. For more information, please call (707) 476-4559 or visit the College of the Redwoods Gallery homepage at

North Coast Journal Review by Gabrielle Gopinath:

Nicole and Cynthia CR
Stealing a photo with Cynthia Hooper after my talk!

Last Crow at Marienbad (2015)

I feel a real sense of accomplishment when I can make a film in a day. These quickly realized projects actually keep me excited about longer, more labor intensive films that require frame by frame focus. One day, I would like to have amassed a set of “vacation films” as a way of recalling, but also engaging with place in a way that is not just tourism. I remade the trailer to Alain Resnais’ 1961 trailer for “Last Year at Marienbad” with the two French speaking hooded crows I met while visiting the Belvedere Palace Gardens in Vienna, Austria. Editing helped passed the time on the train as we traveled between Austria and Germany. Shadows stay in the picture.

Circuit Bridges Collaboration (2015)

I was honored to be the 2015 Animator-in-Residence at Circuit Bridges, “a concert series dedicated to highlighting the community of electroacoustic music creators.” I produced three one minute animated “sketches” that were distributed to a myriad of electroacoustic composers. Fifteen compositions were selected and performed by electric violinist, Eva Ingolf, at Gallery MC in New York on June 25th, Mobius in Boston on June 27th, and Mengi in Reykjavík Iceland on September 10.

Eva Ingolf performing Gesture 3 | Photo courtesy of Marc Fiaux


Eva Ingolf performing Gesture 1 | Photo courtesy of Marc Fiaux

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Eva Ingolf performing Gesture 2 | Photo courtesy of Marc Fiaux

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Sound check with Melissa Grey | Photo courtesy of Marc Fiaux

Press Release: Circuit Bridges and Jane Wang of Mobius present Circuit Bridges: The Round Trip, a concert featuring electroacoustic music on June 25 at Gallery MC, 549 W 52nd St, New York, New York. The concert features works by Kirsten Volness, Rain Worthington, David Morneau, Hans Tammen, Antonino ‘Eze’ Cuscinà, Max Lord, Stefanie Lubkowski, Danny McCarthy, Mick O’Shea, Bibiana Padilla Maltos, Caroline Park, and Jed Speare, being performed by LilitHartunian (violin), Eva Ingolf (electric violin), David Morneau (Gameboy), and Hans Tammen (Blippoo Box).The same program will be presented at Mobius in Cambridge, Massachusettson Saturday, June 27. The concert will feature the world premiere of Fifteen-Minutes-of-Fame: Eva Ingolf, electric violin, presenting fifteen one-minute works by fifteen composers written specifically for Ingolf and new video animations created by artist Nicole Antebi. The purpose of Fifteen-Minutes-of-Fame is to promote a great variety of contemporary music to audiences hungry to hear what living composers are writing today. Ingolf will perform one-minute works by composers James Bohn, Rosa Brands, Michael Braudy, Doug Thomas Cuadrado, Douglas DaSilva, Melissa Grey, Peter Hawkey, Dan Mackenzie, Daniel Mihai, Melanie Mitrano, David Morneau, AlonNechushtan, Daniel Schnee, Bob Siebert, and Carrin Tanaka. Mobius (est. 1977) is a non-profit, artist-run organization, whose mission is to generate, shape and test experimental art. The members of the organization believe an effective strategy for supporting this art is to establish grounds that build relationships among fellow artists. Mobius is committed to structuring environments that foster projects incorporating a wide range of disciplines. This approach sets in motion situations where the artist’s impact can be seen locally, nationally and internationally. Constructing art initiatives outside accepted frameworks and encouraging animated discourse with the public are fundamental to Mobius. Circuit Bridges is a monthly concert series dedicated to highlighting the community of electroacoustic music creators. Founded in 2014 by Robert Voisey and under the artistic direction of David Morneau and Melissa Grey, Circuit Bridges strives to explore all music under the electroacoustic umbrella. This includes but is not limited to sonic art, radio art, glitch, circuit bending, electronica, real-time improvisation, network performance, audiovisual composition, mash-up, and data sonification. Our mission is to connect with artists from around the globe to present the wealth of electroacoustic music being written today.

Video courtesy of James Ellis Coleman

The Telling of the Bees Telling (2015)


The Telling of the Bees Telling is a recent, non-fiction animation based on the ancient folk belief that stresses the importance of notifying the hive about significant matters of the day.  

It may be that the custom of telling the bees of a death originated in the idea that the bees were ‘souls,’ or that they were creatures who could fly up into the heavens from whence they had come. The custom is very widely spread; we find it all over Central Europe carried it, and the first allusion to it can be traced to classical times. – Hilda M. Ransome from The Sacred Bee in Ancient Times and Folklore 

I created The Telling of the Bees Telling, a short, stop motion animation about the Telling of the Bees folk phenomenon specifically for Hive House, a community center and private residence in Echo Park, Los Angeles. The animation explores the non-phenomenal grey area between what historically has been considered a folk belief and meaningful cross species communication. The animation is composed of archival media, early slide specimens from the American Museum of Natural History, and hand-drawn elements with an original score by experimental composer, Melissa Grey. Grey includes sine waves, singing bowls, and her field recordings of honeybee hives from a friend’s farm in Cape Breton, Nova Scotia. The musical material, based on 432 Hz tuning, includes frequencies the bees emit during different phases of their existence. She ordered these frequencies into hexachords, a musical scale of six notes with a half step between the third and fourth steps. This sonically alludes to the hexagonal construction of beehives.

Note: “A Telling, Singing, and Blessing of the Bees” was held at Hive House, Los Angeles on June 5th, 2015. The event premiered an animation by Nicole Antebi, a folk concert for the bees with Emily Lacy, and a blessing of the bees ceremony led by Kate Purdy.

Additional screenings of The Telling of the Bees Telling:

Silverado Film Festival, Santa Ana, CA: September 26th, 2015

College of the Redwoods, Eureka, CA: October 20th, 2015

Animation Spectacular II at GAZE Film Series via ATA, San Francisco, CA: October 30th, 2015

Vanishing Point Art House Productions, Jersey City, NJ: March 3, 2016

Official Selection Green Screen Environmental Film Festival, Trinidad and Tobago: November 1-12th, 2016 

Official Selection Factual Animation Film Fuss, Whitechapel, London: Friday 30th September – Sunday 2nd October, 2016

Official Selection Croydon International Film Festival, London UK, 2016

Official Selection New Filmmakers New York, Courthouse Theater Anthology Film Archives, New York, NY 2017

The Telling of the Bees Telling published in Joaap Issue 10- a Non-Cartography of Life and Climate Change


View here:

Bargello Magic (2015)

Borgello Magic Still 4

Bargello Magic is a stop motion animation turning needlework into pixels and borrowing imagery from the 1972 book of the same title authored by Pauline Fischer and Anabel Lasker. Bargello Magic will be premiering at Winter Shack‘s CineSauna February 14th 7-9 CineSauna is a Microcinema inside a Sauna, inside a Shack, Inside a Community Garden

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Alex watching Bargello Magic Lauren Cannon watching Bargello MagicBargello Magic in situ at CineSauna at Winter Shack