Kristin Lucas: List of Works

Attainable Art Fair Austin

synthesized image of underwater eelgrass bed
Detail: Bioelectric Field Notes #1, 2024, still image from video.

Bioelectric Field Notes #1, 2024, single channel video (4:3 ratio), stereo sound, RT: 07:28

Source material includes an underwater video of my body swimming through Barton Springs Pool and hydrophone recordings from eelgrass beds. Their signals are reprocessed in real time, with a Eurorack audio system triggering image transformations and driving visual effects across early analog video tools. Created during a 2024 Signal Culture residency in Loveland, Colorado.

Bioelectric Field Notes #1 © 2024 by Kristin Lucas is licensed under Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International. To view a copy of this license, visit https://creativecommons.org/licenses/by-nc-nd/4.0/




synthesized image of underwater eelgrass bed
Detail: Bioelectric Field Notes #2, 2025, still image from video.

Bioelectric Field Notes #2, 2025, single channel video (4:3 ratio), stereo sound, RT: 07:25

Source material includes an underwater video of my body swimming through Barton Springs Pool and hydrophone recordings from eelgrass beds. In a node-based visual programming environment (software), these signals are processed into real-time, audio-reactive video effects that shape the videos into expressions of human and nonhuman entanglement.

Bioelectric Field Notes #2 © 2025 by Kristin Lucas is licensed under Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International. To view a copy of this license, visit https://creativecommons.org/licenses/by-nc-nd/4.0/




synthesized image of underwater eelgrass bed
Detail: Comet (white), 2007, sculpture.

Comet (white), 2007, laser-cut sculpture

Baby Comet (white), 2007, laser-cut sculpture

Comet (black), 2007, laser-cut sculpture

Comet (red), 2007, laser-cut sculpture

Comet (red), rough landing, 2007, laser-cut sculpture

Comet (blue), 2007, laser-cut sculpture

The acrylic comets draw on the visual language of 1970s pinball machines, especially the cosmic fantasy imagery of Fireball. Their glossy, reflective surfaces operate as miniature screens and mirrors, echoing the way arcade games pulled players into immersive circuits of spectacle, fantasy, and technological desire, where biological bodies connected to electromechanical systems through light, sound, haptic feedback, and projection into imagined futures. Made from acrylic, the comets also carry the material history of that era, when plastics were promoted as symbols of progress, abundance, and futuristic living. In this sense, the comets function as media-archaeological fragments linking the fantasies of 1970s arcade culture to the petrochemical and environmental realities that continue to shape the present.



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