Victoria Crayhon
Untitled I, Los Angeles CAUntitled II, Los Angeles CAUntitled Beverly MAUntitled II Beverly MAUntitled Lowell MIUntitled III, Providence RIUntitled, Shrewsbury MAUntitled II, Quincy MAUntitled II Holland MIUntitled III, Quincy MAUntitled, Leicester MAUntitled, Auburn NYUntitled Houston TXUntitled Columbus Theater I, Providence RIUntitled Columbus Theater II, Providence RIUntitled II, Lincoln RI Untitled V, Providence RIUntitled IV, Providence RIUntitled, Lincoln RIUntitled, Fairhaven MAUntitled, East Greenwich RIUntitled Holland MIUntitled VI, Providence RIUntitled, Route 146 MAUntitled II Lowell MIUntitled, Rochester NY
Image 1 of Rochester Triptych 
Untitled II, Rochester NY
Image 2 of Rochester TriptychUntitled III, Rochester NY
image 3 of Rochester TriptychUntitled Triptych, Rochester NYUntitled, Fitchburg MAUntitled, Las Vegas, NVUntitled II Las Vegas NVUntitled Howell MIUntitled IV Lowell MIGallery Installation ViewsInstallation ViewsSign Installation View, Fitchburg MA, 2009Sign Installation, Las Vegas, 2009Installation View, Las Vegas NVThe Fence, Boston Summer 2014View of The Fence in Brooklyn Bridge Park, NYC View of The Fence in Brooklyn Bridge Park, NYC View of The Fence, Brooklyn Bridge Park, NYC
Thoughts on Romance from the Road
My work consists of personal narratives, both real
and fabricated, placed in pubic. I wish to draw
attention to the evolving manner in which we
experience desire and how that desire is implanted
and delivered within our collective minds with the
use of our ever-expanding repertoire of technology
and entertainment, both of which we desire in and
of themselves.
Thoughts on Romance from the Road uses
photography to document my text interventions
on roadside marquee signs. By placing intimate,
diaristic language in public view this work also
explores the contemporary impulse to perhaps
overly share our innermost thoughts and
vulnerabilities. I place phrases on movie and
motel marquee signs, using my own sign letters
and then leaving the scene with the words left intact.
Before I depart, I make a photograph from the
sidewalk or roadside.
The photograph becomes the sole remnant of the
project as the letters inevitably disappear or are
taken down. In its brief existence, each sign
installation is read by an audience encountering
the work in spaces where they expect to see
advertisements or movie titles.The text phrases
are the voice of an individual and are deliberately
personal and vaguely melancholy – sharply
contrasting with the upbeat advertisements or
movie titles typically seen on these signs.
My texts are formulated to read as though they
are public diary entries referencing banal realities
of self and relationships based on comparison
with an ideal. In a gallery space the work is
presented as large color prints and looped
video documentation of the installations of
the signs that exist in public for a limited period
of time. 
Whether or not an altered sign lasts out in the world
for a few hours or a few days depends upon who
owns the property where each sign is located.
Whenever possible I obtain permission, if I can
locate a property owner. If I cannot do so I will
most likely use it anyway, knowing that the
installation could be more short-lived than in the
opposite case. But I never know precisely what will
happen or how long the installations will remain intact.
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