About the artist...
Cari Ann Shim Sham* is a wild artist & filmmaker living in Brooklyn, NY whose main interest is moving bodies and cameras to move minds. Known for strong surreal images and precise rhythm of the edit, her visual artistry, opens up the viewer's body through emotional sensation, powerful visuals, provocative sound and engaging movement. Her film work has screened at Laemmle Sunset 7, Mann Chinese Theater, the United Nations General Assembly, and over 190 festivals internationally including Cannes, Austin, & Seattle, garnering numerous awards including Best Director from the First Glance Film Festival & Best Short Doc from St. Louis & Oxford Film Festivals for her film SAND, Best Experimental Short from the New Orleans Film Festival for Two Seconds After Laughter, and the World’s Largest Premiere from Record Breakers along with the Vimeo Social Change Award for One Day on Earth, the first documentary film to be shot in every country of the world on the same day.
She is the first video artist to fully redesign the video/sound/set build of Robert Rauschenberg’s “Shiner” for Trisha Brown’s Set & Reset/Reset for NYU Tisch Dance. Her live work and video art has shown at Jacob's Pillow, PS 21, Peak Performances, the Joyce Soho, Dixon Place, Human Resources LA with supporting technical residencies at The Krannert Center, Clarice Smith Art Center, Danspace in NYC, Dance Place, DC and REDCAT. She is a recipient of the Surdna Arts Teachers Fellowship, the Chime's Choreographer Mentorship Exchange and was the first multi-media mentor for the San Francisco ODC Pilot Program. Shim Sham Directed the Topanga Film Festival in 2015, with the theme Technology at Play, to address the quickly growing field of technology that surrounds cinema. For the past 10 years she’s curated dance film for Salamanca Moves in Tasmania, Topanga Film Festival in Los Angeles, the Enroute Dance Film Festival, and guest curated for Dance Films Association in NYC.
Her cinematography can be seen in David Rousseve’s award winning film, Two Seconds After Laughter, Marta Renzi’s short Besties and feature film Her Magnum Opus, The Fez by Roxxanne Shelaby, her own short Chicken Boy, Opera on Tap’s Running for Opera episodes and The NYU Global Institute for Advanced Studies Translucent Borders Project.
This year Shim Sham* is premiering her video artistry at the Skirball in LA for Inflatable Trio by Lionel Popkin. She’s developing video artistry for a piece about Billy Strayhorn by David Roussève and creating an immersive inflatable interactive installation about Orca Whales with Emily Beattie which premieres this summer at the Imagine Fest. She’s also directing a Virtual Reality Episodic Horror Opera project, The Parksville Murders, for Opera on Tap which received a grant from Opera America and in the development stage on a feature dance film, Twit, based on David Roussève’s Stardust which she designed the video art for. She is over the moon delighted to be an Associate Arts Professor of Dance & New Media at NYU TISCH Dance while serving as the Filmmaker/Photographer for the “Translucent Borders,” project of the NYU Global Institute for Advanced Study directed by Andy Teirstein.
a wild new media artist, born in Wilmington, Delaware in 1974, now living in Brooklyn, NY, freelancing internationally and teaching Dance & New Media at NYU, TISCH School of the Arts Dance Department.
Grateful to have grown up in a house where music always played, my childhood was deeply influenced by watching my mother jitterbug in the kitchen and evening slideshows of my father's photography on the pull down screen.
Attracted to things that sparkle I am a collector of antique doorknobs and precious stones and a lover of champagne. Wild edible mushroom hunting is my favorite past time and gets me into nature and the great outdoors.
In my free time I enjoy skipping rocks with my family on Lake Erie, hanging out with friends on my porch in Brooklyn, getting my hands dirty in the garden, cooking for my beloveds, moving my body, snuggling with my two big fluffy black boy cats, writing poetry or being swept away by the NYC nightlife.
As a director, and more deeply as someone with a long love affair with dance, I’m interested in discovering how the movement of bodies, voices and cameras can affect a performance platform. As a woman, in the current chaotic state of my country and the world, I’m interested in the way the female body is placed within a story, how the body is seen, the perspective from which the body is viewed, and how the body is either disempowered by the other or more so how it is empowered by actions from the self.
As an artist I enjoy making magical manipulations of light for screens, objects & shapes of all sizes.
Recently, it is from an urgent state of protest to all things not grounded in truth, equity, love and compassion that my work springs forth.