Our approach to projection mapping onto the west-facing facade of the Coral Gables Museum containing Joan Keller's Stone Fireman busts features experimental animation textures and moving images created using machine learning models (StyleGan2, BigBiGan) in Runway ML. These visual materials we generate reference the geology of the South Florida/Upper Caribbean basin in addition to historical buildings and photographs of Coral Gables. We will produce these media by exploring a handful of concrete situations in relation to the site: ancient geologic formation of oolitic limestone and coral, the 1894 Great Freeze in relation to the incorporation and establishment of the City of Miami, and atmospheric dust storms, red tide/toxic algae blooms, and sea level rise in the present. This media will then be mapped, layered, and collaged onto the surface of the Stone Fireman busts as well as the surrounding areas excluding the windows and bay doors. While we will project onto areas other than the Stone Fireman busts, the busts will feature prominently in the work and will be highlighted and repeatedly returned to — functioning in the work as a chorus or narrator.

Our intervention in the form of projection mapped images visually referencing the various entangled histories of the site is imagined as an offering or monument to all past, present, and future inhabitants, human and non-human. In this manner, we seek to re-imagine the site, not only as a wall carrying the Stone Fireman busts sculpted by Joan Keller (later known as Jon Louie Keller) out of the same coral material as the surrounding building, nor as the facade of a unique New Deal era police and fire station oriented westward, but as a palimsest surface or 'screen' which carries our 'projections' in the form of images, memories, anxieties, and yearnings. As a screen, the site is brought back into conversation with its geologic and meteorologic history and is poised to paradoxically 'reflect' on its future through the making-present of its past.