Love Above All Else
Dancing Mary
An Experiential Installation



The Love Above All Else video is a projection created from the repeated writing of the word Love (or I love you), drawn both handed for brain balancing. 

Beneath the images is an underlayer of love’s opposite in the form of fourteen photographs combined that symbolize war, racism, poverty, disease, terrorism, global warming, mass shootings, ethnic cleansing, refugees displaced, hurricanes, fires, religious conflicts, family separations, and famine. Together these constitute one disruptive, apocalyptic image that has been lightened to be barely visible, as if the totality of all human suffering is disappearing. Conceptually, the lightening of the image that is almost invisible underneath represents the power of love to transmute all that negativity. The Love Above All Elseprojection symbolically represents the vibration of love triumphant over Earth’s current malaise. 



Dancing Mary: An Experiential Installation 

A three-inch, glow-in-the-dark Mother Mary figurine sits on a pedestal in the darkness. Attendees will be seated in 20-minute increments. To most, Mary appears to move, assisted by the energies in the room. By the end of each 20-minute seating, most people will have seen some aspect of the energies around Mary. Is seeing Mary move a miracle in itself, or is it seeing the energy around her that’s miraculous? Viewers can decide for themselves. This can be a very powerful, even life changing experience, especially for those who have never seen energy before.



Nancy Burson | photo ©Maggie Shannon

Acclaimed artist/photographer Nancy Burson’s work is shown in museums and galleries internationally. “Seeing and Believing”, her traveling 2002 retrospective originating at the Grey Art Gallery, was nominated for Best Solo Museum Show of the Year in New York City by the International Association of Art Critics. She has served as a visiting professor at Harvard and was a member of the adjunct photography faculty at New York University’s Tisch School of the Arts for five years. Burson currently books events and reviews portfolios for the Photography Department at the New York Film Academy in NYC. Nancy Burson combined art and innovation in a way that challenged photographic truth at the birth of digital manipulation. She is best known for her pioneering work in morphing technologies which age enhance the human face and still enable law enforcement officials to locate missing children and adults. Her Human Race Machine is still used as an educational diversity tool that provides viewers with the profound visual experience of being another race. Her work is included in museums worldwide including the MoMA, Metropolitan Museum, and the Whitney Museum in New York City, as well as the Victoria and Albert Museum in London, the Center Georges Pompidou in Paris, the LA County Museum of Art, MoMA (San Francisco), the Museum of Fine Arts in Houston, and the Smithsonian Museum in Washington DC, as well as many others. She has collaborated with Creative Time, the Lower Manhattan Cultural Council, and Deutsche Bank in completing several important public art projects in NYC. These projects include the poster project, “Visualize This” (Creative Time, 1991), the billboard, ‘There’s No Gene For Race” (2000), the poster/postcard project “Focus on Peace”, commissioned for the first anniversary of 9/11, and “Looking Up” and “Truth”, at the 60 Wall St. Atrium, 2005. In the last few years, Burson’s public artworks have been displayed as works projected in light in both the Berlin Festival of Light and the New York Festival of Light. One of Burson’s images was chosen for Time Magazine’s book: 100 Photographs, The Most Influential Images of All Time. Her work has been featured in all forms of media including segments on Oprah, Good Morning America, CNN, National Public Radio, PBS, and Fuji TV News, as well as countless local TV segments in the USA, Canada and Europe. Prominent articles featuring her work have appeared in The New York Times Magazine, The New York Times, The Baltimore Sun, The Houston Chronicle, and Scientific American Magazine to name a few. There are four monographs of her work and reproductions of it appear in hundreds of art catalogs. It is also widely featured in text books on the history of photography published in all languages. Burson has been awarded grants from the NEA, the National Science Foundation, Anonymous Was A Woman, The Peter Reed Foundation, and CAST (Collaborations in Art, Science and Technology). Burson’s new TogetherAllOne concepts and designs promote the concept of global unity and encompass everything from interactive children’s books to projected lighting installations and public sculptures. Her fine art photography is available through ClampArt Gallery in NYC, Rose Gallery in LA, and Paci Contemporary in Brescia, Italy.