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Sculptor and video artist Christy Gast is known for conflating the landscape and the body (often her own) through folk performance conventions. For the video installation Herbert Hoover Dyke, 2010, Gast manipulates the literal point of connection between a performer and eponymous landscape to produce percussive song, documented by extended still shots. In it the artist tap dances around the perimeter of Lake Okeechobee, Florida's inland sea, via the Herbert Hoover Dyke - a 30 foot high earthen berm that keeps the lake from freely flowing into the Everglades and South Florida's suburban expanses.

Taking advantage of the engineering conventions adorning this 140 mile-long social sculpture, she taps out an assortment of rhythms on a ribbon of crunching gravel and asphalt, plinking steel grates and barrier gates, reverberating water tanks and a confounding array of limestone columns jutting from the slope. This feat of environmental engineering derided by environmentalists but essential to several communities is transformed into a colossal stage, its parts reconceptualized as ready-made musical instruments. It appears that crows, egrets and vultures are the only witnesses as the lone tuxedoed figure stomps, leaps and shuffles resolutely through the not-quite-natural landscape.

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