EMPR: Superlowrez (05) and New York City Windows (07)

In 2005 and in 2007, Tallichet returned to the Empire State Building as a still-contested site of meaning, but this time she tackled it in light rather than sound. EMPR: Superlowrez is a visual chimera of the Empire State Building in pixilated light saved on a computer chip that held only 1,984 "frames" (the number cannot have been accidental) of information, the pixel-count equivalent of a computer cursor, and framed in a 12 inches x 14 inches custom-built box. In EMPR: Superlowrez Tallichet compresses Warholís Empire State Building: 12 hours and 20 seconds onto the chip in super-low resolution, and plays it at top speed, so that the buildingís visual identity is recognizable only by its trademark silhouette, and its temporal identity flying jerkily along, and animating the monster. n New York City Windows, created as a series of "windows" for a windowless corridor on a common floor of Manhattanís Bloomberg Building, she similarly investigates how light and movement can be manipulated to imitate the immediacy of a window. New York City
Windows is a series of six flat, framed, and animated window-sized objects that use moving images from six different films that feature the Empire State Building, a building that Tallichet imagines would have been visible to those who walked along the corridor in which they were temporarily installed, had the windows been real. Using LED panels the shape and size of small windows, Tallichet slows frames from King Kong (1933), Superman (1983), Liquid Sky (1982), An Affair to Remember (1957), Sleepless in Seattle (1993) and Andy Warholís Empire (1964) and reduces the image resolution to the slowest and lowest level possible without compromising the recognizability of the building. In so doing, she creates a series of framed animated images that read both as a moving-pictures tribute to the Empire State Building and as abstract visual light patterns.