Download -8- on iTunes for FREE

Either Or: a companion to 8 the app is available from Social Malpractice Publishing.

websites by FNLdesign
8 the app
8 - iOS app - version 1.2 - 2015

Download -8- on iTunes for FREE.

Check out the companion publication at Social Malpractice Publishing.

Parallel dimensions and haunting noise-- lower the lights, turn up the sound, and look around.

Part short film, part game, and part video installation, 8 is an artist-produced app that places you in the middle of an immersive video where physically moving your device reveals events unfolding and repeating around you. Users can navigate through a maze of 24 looping scenes by simply tapping the screen. Navigation symbols can be used to learn patterns of movement through the app but there is no real beginning or end.

A short article about 8.

Made by Stephen Slappe

Software by Jacob Fennell

Sound elements by Bryson Hansen

Graphic design by Nate Preston

Post-production by David McCutchen

Actors are Emily Galash, Dane Overton, Alicia Gordon, Rebecca Carlisle-Healy, Robert Burns, Zoe Bullock, Joe Noreen, Rachael Jensen

Supported by the following organizations:

The Joan Mitchell Center, New Orleans, LA

Pacific Northwest College of Art, Portland, OR

Funded by a generous grant from the Regional Arts & Culture Council in Portland, OR

People I Used To Know
People I Used To Know - book - 114pp. - 2012

Purchase or download the book here.

Search #piutk on Instagram to see most of the images.

From Publication Studio's website:

"Stephen Slappe's book, People I Used To Know began as a file of archived pictures on Slappe's computer desktop. Slappe archived these photos since 2005, pulling them from social networking websites. He has manipulated these photos with algorithmically generated patterns to erase the faces and skin and leave only kitchens, yards, living rooms, clothes and a bit of mystery. Stephen Slappe has paired these photos with short phrases that describe his memories of these people."


Installation Views
Video Stills
Crossroads - Four-Channel Video and Sound Installation - 7 min. loop - 2009/2010


The meeting of man and machine on the lonely back roads of the American West.

Crossroads has been exhibited in two versions. The first was at the Art Gym at Marylhurst University and the second was at Portland2010: A Biennial of Contemporary Art.

Actor: Jason Powell
Car Owner: David Lewin
Sound Editing: Noah Davis
Equipment Support: Rose Bond
General Support: 2009 version- Terri Hopkins and Peter Qualliotine at The Art Gym at Marylhurst University, 2010 version- Cris Moss and Disjecta

Bad Religion
Video Stills
Bad Religion - video loop - 2013

This video was made for a group show entitled Remembering Is Everything curated by Bean Gilsdorf and A. Will Brown for Alter Space in San Francisco.

"Remembering is Everything features commissioned works by six American artists. In the fall of 2012, all of the artists were shown an original video created by the curators as a prompt to memory. Then, each was asked to formulate a response using the video’s structure and elements to create works that centered on their remembrances. The artists were asked to consider the video as they would any other witnessed event; and after they viewed the video, it was destroyed. This experimental exhibition was inspired in part by the 2011 New York Times bestseller Moonwalking with Einstein. In this book, author Joshua Foer asserts three points that connect memory directly to the production of art:

  1. we don’t remember isolated facts, we remember things in context;
  2. memory is shaped by sensory information in a “feedback loop”: everything we see and hear is inflected by everything we’ve seen and heard in the past;
  3. we remember events that are repeated, structured, and easily visualized.

In fact, Foer summarizes his findings in the book’s epilogue by stating, “How we perceive the world and how we act in it are products of how and what we remember. We’re all just a bundle of habits shaped by memories… No lasting joke, invention, insight, or work of art was ever produced by an external memory.” The works in this exhibition span a wide range of media from painting to performance, reflecting the artists’ interests in memory, perception, narrative, and representation.

Remembering is Everything includes work by artists Yayoi Asoma (New York), David Kasprzak (San Francisco), Kate Nartker (San Francisco), Nancy Nowacek (New York), Melody Owen (Portland, OR), and Stephen Slappe (Portland, OR). This exhibition was collaboratively curated by Bean Gilsdorf and A. Will Brown."

View this video as a loop here.


We Are Legion
Video Stills
We Are Legion - Participatory Website - 2009


Visit the website:

We Are Legion was created for Portland Institute for Contemporary Art's Time-Based Art Festival. The project is ongoing so feel free to submit your photographs through the website.

From the TBA:09 catalog:

"Stephen Slappe creates a never-ending army of costumed youth in a web project that mines your photo albums for evidence of what the artist calls 'contemporary cultural indoctrination.' For TBA, Slappe will set up stations, online and in person, in order to collect images of you and yours in Halloween garb. He will string these images together into a scrolling defense line of masked society. We Are Legion addresses personal history and pop culture nostalgia, and plays with the technological innovations that allow for rapid sharing of personal images. Slappe's work blends humor, absurdity, and anxiety in order to reflect upon notions of home, transience, and physical and psychological escape."

PICA's Visual Art Program Director, Kristan Kennedy, interviewed me about the project. The interview was included in a printed catalog and is also available online.

Financial Support: Portland Institute for Contemporary Art (PICA)
Programming: Jacob Peter Fennell
Volunteers for TBA:09: Leah Kiczula, Nicole Milchak, Tesar Freeman, Claire LaMont, Nicole Smith, Mattie Ecklund, Rainbow Ross, Jason Powell, Tamar Monhait, Thomas Wheeler-Castillo, Sylvie Spencer
Thanks to everyone who contributed images before, during, and after TBA:09.


Installation Views
Video Stills
Portal - video installation - 2009

I was asked to be in a one-day exhibition called Open House by Portland artists Michele Ross and Karl Burkheimer. They invited a group of artists to temporarily takeover some portion of a house that was between owners. I chose a dark, hidden space in the basement beneath the stairs. The door to the space was wedged so that it was open just a crack, enough for sound to travel out but requiring viewers to look into the space with one eye.

Shelter In Place
Installation Views
Video Stills
Shelter In Place - Three-Channel Video and Sound Installation - 14 min. - 2009


Shelter In Place combines video, sound, and sculpture to tell the odd story of two teenagers in Appalachia in the mid-1980s. The characters are victims of a culture of fear: The Cold War, chemical leaks, and lower middle class malaise. Despite their geographical isolation, the two teens discover a miraculous method of sharing subcultural information in a pre-internet era that eventually leads to unexpected transcendence.

Shelter In Place was created for a solo exhibition at the New American Art Union in Portland, Oregon in May 2009. The work was generously supported by a Couture Award from Ruth Ann Brown and a Project Grant from the Regional Arts and Culture Council in Portland.

A single channel version of Shelter In Place was completed in 2010.

Review by Chas Bowie for The Oregonian

Review by Carol Anne McChrystal for Art Practical

Financial Support: Ruth Ann Brown and The New American Art Union (NAAU)
Financial Support: The Regional Arts and Culture Council (RACC)
Archival Footage: The West Virginia State Archives
Actors: Emily Galash and Peter Burr
Compositing: Christopher Huizar
Sound Editing: Noah Davis
Cinematography: Ric Lanciotti
Production Photography: Sarah Meadows
Lighting: Dan Ackerman
Satellite Model Design: Jubal Nance
Bomb Drop Flyer Drawing: Dave Neeson
Installation Photography: Dan Kvitka
Assistance, Advice, and General Support: Samantha Wall, Dan Gilsdorf, Bean Gilsdorf, Derek Franklin, Dick Fauss, Peter Kreider, Charlie Votruba, Tesar Freeman, Claire LaMont, Missy Canez, Kevin Tinnell



Video Stills
Homing - Animation Loop - 1 min. - Silent - 2009


All of my home addresses + Google Street View

Google's Street View technology allowed me to travel to all of my current and former home addresses in a short amount of time. Due to some of the obscure places I've called home, it surprised and alarmed me to find every address readily visible. The format of the video reflects a roving eye-in-the-sky, dipping down to focus briefly on a single residence before traveling back up and landing two thousand miles away in a matter of seconds.

Trickle Down
Video Stills
Trickle Down - video loop - 2011

I made a series of animated video collage loops drawing from 1980s the hardcore punk iconography of my youth. Most of them weren't very good but this one was worth saving because it features all three crucial elements-- Reagan, skulls, and mushroom clouds. During the last decade, there has been a surge in Ronald Reagan nostalgia in America so I'm happy to remind people of the president who ignored the AIDS crisis among other crimes against humanity. 

Trickle Down was shown as part of The World is Not Ending, Your World is Ending, curated by Sean Joseph Patrick Carney for Gallery Homeland in Portland, OR.

Installation Views
Video Stills
Cul-de-sac - Four-Channel Video and Sound Installation - 4 min. loop - 2008


Cul-de-sac traps the audience in a never-ending cycle of predator and prey using familiar tropes from vampire and horror films. The first screen contains a montage of vampires lunging, chasing, and biting directly at the camera. The middle screen is two-sided, one side contains images of people running away from the camera and the flip side contains images of people running toward the camera. Lastly, the fourth screen contains images of sunsets and sunrises, absent of any logical temporal relationship. The sound has two distinct elements: audio from vampire films and footsteps combined with occasional screams.

Cul-de-sac was installed at Worksound Gallery in 2008 as part of a group show entitled Volume.

Endless Supply of Vampire Films: Movie Madness
Equipment Support: Dan Gilsdorf
Construction Crew: Charlie Votruba and Dave Neeson
Installation Photography: Dan Kvitka

Increasing In Significance
Installation Views
Video Stills
Increasing In Significance - Four-Channel Video Installation - 5 min. loop - 2006


Increasing In Significance conveys four simultaneous acts of humorous desperation. These dizzying, repetitive sequences are drawn from disparate sources of inspiration: Johannes Kepler's Laws of Planetary Motion and Buster Keaton's slapstick films. Exploiting the illusionism of relative motion, the videos capture the necessity of taking action while revealing its ultimate futility.

Increasing In Significance exists as both a four-channel installation and a single-channel video.

Rotating Camera: Dan Gilsdorf

Installation Views
Character - Participatory Drawing Project - 2007


Character was a drawing project made in collaboration with twenty West Coast artists between February and August 2007. I introduced the concept to my collaborators with a short email description of the process:

"Here's the basic idea of the project: I will make collaborative drawings with twenty artists and filmmakers. During the drawing session, we will choose a character from popular culture, past or present, of whom we both have memories. We will then attempt to draw the character on a single sheet of paper using only our memories, conversation, and drawings as references. The paper will record all of the mistakes and successes."



Etymology: Middle English caracter, from Latin character mark, distinctive quality

1: a conventionalized graphic device placed on an object as an indication of ownership, origin, or relationship

2: one of the attributes or features that make up and distinguish an individual

The drawings in Character illustrate not just well-known pop culture figures, but also the strengths and limitations of memory. The character in each drawing was chosen by discussing and deliberating at the time each collaborator and I met; no discussion took place prior to the drawing session. Through the collaborative process, each artist and I were often able to build on one another's memories, words, and sketches to get closer and closer to what we felt was an accurate representation. Ironically, we were just as likely to inadvertently convey false information to each other, convincing the other person to veer away from important details in a character's likeness. In each drawing session, an archetypal version of the character took shape on the page. These characters do resemble the originals, but often lack the specificity of the genuine article.
Why draw collaboratively from memory? A century of increasingly widespread mass media has created a vast pool of collective experiences through which people can connect to each other: all over the world people have cheered in front of a television or laughed while reading the same book. The characters and events depicted through these mediums have been embedded into our memories. We identify with some characters more than others, often because we see ourselves in them or aspire to be like them. Sometimes a character is memorable because of its design, and some transcend mere personal identification and become a part of the culture, with multigenerational appeal. A good example of this is Superman: known by my generation, our parents and grandparents, and indeed, around the world. The Character drawings provide evidence of these shared experiences. Most of the characters in these drawings continue to live both in the media and in our collective memory. The goal of this project was to tap into this collective memory, to define and make connections to my culture and community, and to explore how this intersects with my personal history. By drawing together, my collaborators and I were able to connect our accounts of how we came to know the characters, and by doing so expand our awareness of how we are shaped by cultural forces.

With the financial support of the Regional Arts and Culture Council in Portland, I published a limited edition book (250 copies) as a document of the project. Copies are still available and you can contact me through the website if you are interested in purchasing one.

Samantha Wall, Edie Tsong, Craig Baldwin, Mack McFarland, Jo Jackson, Geoffrey Ellis, Bean Gilsdorf, Peter Burr, Edward C.H. King, David Eckard, Matt McCormick, Emily Ginsburg, Midori Hirose, Dan Gilsdorf, Jaclyn Campanaro, Adam Sorensen, Julia Stoops, Yoshihiro Kitai, Daniel Duford, Ryan Alexander-Tanner

Financial Support: The Regional Arts and Culture Council (RACC)
Book Design: Geoffrey Ellis
Photography: Geoffrey Ellis, Samantha Wall, Jaclyn Campanaro
Assistance and General Support: Jenene Nagy and Josh Smith at Tilt Gallery and Project Space

Chain Reaction
Installation Views
Video Stills
Chain Reaction - Video and Sound Installation - 7 min. loop - 2006


"The sleep of reason produces monsters."  -Francisco de Goya

Chain Reaction relies on the tension created by two oppositional forces. In this case, those forces are fear and pity. Born out of a Sci-Fi film archetype, a giant scientist looms menacingly overhead. His inquisitive gaze is cast both on the audience and his two test subjects. The subjects are smaller than life-size and trapped in a pair of tubes, looking upward and continually calling out "Hello?" The strange scientific experiment moves continually forward, reaching a crescendo yet no resolution, before beginning again.

Actors: Barry Pelzner, Ruth Waddy, and Mack McFarland
Make-up: Erin Walters
Compositing: Christopher Huizar
Assistance and General Support: Jenene Nagy and Josh Smith at Tilt Gallery and Project Space