Time and space seem to expand for viewers of “Waterlilies, Madawaska River”, a video corner installation in which mirror videos -and audio- create an immersive environment via flatscreens or wall projections. Mirror videos produce everchanging patterns, while the corner installation opens up viewer space, adding 270 degrees to the 90 degree corner. “Waterlilies, Madawaska River” evokes the physical, visual and aural sensations of advancing towards waterlilies in the bow of a canoe in late summer. Lily pads floating in the distance eventually fill the screen, before giving way to underwater views of curving pink stems. ‘Reality’ is dislodged by inverted trees, mirrored reflections of the shoreline, the river current, the (audio) slosh of water and slap of the paddle.
Ann Stoddard recorded videos for the “Waterlilies -” from the bow of a canoe on the Madawaska River, Algonquin Park, Ontario. Stoddard is the videographer, director, and editor, assisted by her husband John Straub who paddled stern. [Together Stoddard and Straub have paddled rivers and lakes in Wisconsin, the Chesapeake Bay watershed, and Algonquin Park, ON.] Stoddard has been canoeing the Madawaska since early childhood.

Time and space seem to expand for viewers of “Patuxent River, Chesapeake Bay.” In this 2-Channel video corner-installation, videos and audio create an immersive environment via flatscreens or wall projections. Mirror videos produce everchanging patterns, while the corner installation opens up viewer space, adds 270 degrees to the 90 degree corner. “Patuxent River, Chesapeake Bay Watershed” evokes the physical, visual and aural sensations of canoeing the Patuxent in mid-summer. On mirrored screens the camera drifts towards a shoreline green with arrowhead and arum plants that pierce surface reflections of sky and clouds. ‘Reality’ is shaped by insects, birds, the river current, the (audio) slosh of water and slap of the paddle. When completed in 2023, the “Water, Land, Sky- Chesapeake Bay” series of video installations will include videos recorded on rivers in the Bay watershed in Maryland, as well as on rivers in the District, Delaware, Pennsylvania, New York, West Virginia, and Virginia.
Ann Stoddard recorded videos for the “Patuxent River, Chesapeake Bay Watershed” from the bow of a canoe. Stoddard is the videographer, director, editor, and bow paddler, assisted by her husband John Straub who paddled stern. Together Stoddard and Straub have paddled rivers and lakes in Wisconsin, the Chesapeake Bay watershed, and Algonquin Park, ON.] Stoddard learned to canoe in early childhood.

The 4-channel video installation “Seeing Things, Headscarf” produces ambiguity through simultaneous random juxtapositions of a woman donning a scarf. Conceptual art, quad-screen, and fashion challenge stereotypes: Who decides when scarves are fashion, when they signify devotion, - repression? Riffing on the popular video "100 ways to tie a scarf", “Seeing Things, Headscarf” sources include Audrey Hepburn wearing scarf-and-sunglasses in "Charade", Hijab, bridal veils, the Virgin Mary.
“Seeing Things, Headscarf” is a 4-Channel video installation: Final cut pro manipulated video recordings; Quad-video-switcher (signal splitter) distributes 4 DVDs/DVD /players. Each quadrant of the screen displays a version of the same video, asynchronous and non-linear. For flatscreen or projection.
“Seeing Things, Headscarf” involved performance and collaboration, and is part of a series created to protest Trump’s Muslim ban and systemic post-9/11 ethnic profiling of Muslims. This series [videos, installations, site-interventions] is informed by living and teaching in Morocco, activism and a Catholic girlhood.

“Jumping Jack, 2-Minute Workout” is a stop-action video animation whose inspirations include Trayvon Martin, Shiva, Jesus, tasering, fitness videos. “An everyday aerobic exercise becomes the universal gesture for “don’t shoot!”” [Washington Post, Mark Jenkins, 11.3.2016.] Based on original drawings, “Jumping Jack, 2-Minute Workout” employs rapid sequencing for stroboscopic effect to prompt viewer empathy with Black male targets of racial profiling and outrage at racial violence.

Four memories from realization of Losing Winter for Oresman Gallery at Smith College, 2022. For this iteration, artist Lynn Cazabon used the project as a means to engineer an intergenerational and cross-cultural dialogue between communities of people aged 60+ and Smith College students enrolled in Professor Ellen Kaplan’s class THE 312 Theatre in Dialogue with the Landscape.

Engaging with the pieces of myself that have been left behind, stolen, lost, and transformed, I filmed pivotal moments in my journey toward recovery.

“remnants.” features fire, love, blood, death, and loss. It travels across the flooding of grief after visiting an old storage unit and reveals the debilitating pain of rebuilding after sickness and assault.