SERIES: Artist Statement, September 2018

ABOUT THIS ARTIST STATEMENT SERIES:  This is an ongoing series and archive of various ways I’ve described my work.   

Current Artist Statement from my website….

I am an intuitive thinker and maker working in a variety of disciplines and am greatly influenced by the work being done in affect and queer theory by writers such as Brian Massumi, Eve Sedgwick, Michael Warner and David Getsy.  These writers are mining the territory of queerness and the general nature of in-betweenness in ways that intersect with my studio practice in a myriad of direct and indirect ways.

The concept of in-betweenness or the liminal is emanating throughout all of my work.  Whether it’s a phrase of text in a video that hovers in and out of states of legibility, an installation of twisted t-shirts ambiguously formed in the corner of a room or a surface that is at once a painting, sculpture and a pelt of skin, the aspect of the liminal is prominently at play.

In my current painting, video and sculptural works there is a recurring form that looks like this: I><I . Sometimes it is clearly a bow tie, sometimes it’s a corner space and other times it’s an open book. I use this form to explore, tweak, queer and poeticize the relationships between TEXT, art, clothing, and space.

SERIES: Artist Statement, May 2018

ABOUT THIS ARTIST STATEMENT SERIES:  I’m going to start archiving all of the artist statements I write in applications and  on this blog.  Here is an artist statement from an exhibition application from today, May 17, 2018:

Through my videos, installations and performances, my current work is an exercise in the reifying or transformation of shame. I do this by playing with a few different elements- corner spaces, imagery or symbols of shame and the form of a bow. I’m fascinated by the fact that a corner space can look like a bow (two planes converging on a center point) while at the same time a corner space can be the space that holds forgotten or shameful bodies (the dunce). In my work, I create a fluid slippage of meaning between these three elements. My goal is to fold together and create a multiplicity of meaning around shame. This all comes out of an interest in the affect of shame and its immense complexity. It is more than a negative emotion that overcomes us but can also be a gift or a tool for moments of inspiring action.

READING NOTES: Affect Theory Reader

Sara Ahmed essay, Happy Objects

pg. 36 quoting Anna Gibbs:

“Bodies can catch feelings as easily as catch fire:  affect leaps from one body to another, evoking tenderness, inciting shame, igniting rage, exciting fear — in short, communicable affect can inflame nerves and muscles in a conflagration of every conceivable kind of passion”

pg. 39

“Power speaks here in this moment of hesitation.  Do you go along with it?  What does it mean not to go along with it?  To create awkwardness is to be read as being awkward.  Maintaining public comfort requires that certain bodies “go along with it,” to agree to where you are placed.  To refuse to be placed would mean to be seen as trouble, as causing discomfort for others.”

READING NOTES: Affect Theory Reader Intro

These are all notes taken from the  Intro to the Affect Theory Reader by Editors, Melissa Gregg & Gregory J. Seigworth

  • Affect is born in in-between-ness
  • Affect is in many ways synonymous with forces of encounter
  • Affect transpries in all of the miniscule or molecular events of the unnoticed
  • Affect resides as accumulative beside-ness
  • Affect can be understood as a gradient of bodily capacity
  • Affect marks a body’s belonging to a world of encounters
  • “…approaches to affect would feel a great deal less like a free fall if our most familiar modes of inquiry had begun with movement rather than stasis, with process always underway rather than position taken”… Brian Massumi (2002) – pg. 13

STUDIO NOTES: Material Experimentation

Since I don’t have a studio at the moment, I’ve been thinking about material experimentation a lot lately.  I am really curious about where it fits into my practice these days.  How important is it, really,  to my creative process? Especially when so much of my current work is based on photography, digital processes, reading and writing….none of which really involve the messy child’s-science-lab feeling of my previous studios.

There is a missing cog in the wonky machine that is my art practice and  I suspect it is this other modality of making….the playful, process-based  material experimentation.  In a way, this is another form of reading and writing but with physical materials, rather than text.

Statements on Hangers

Potential Parts of Speech of Items in Closet

  • bowtie – about
  • t-shirt – pronouns and/or cuss words (only when there are holes present in the shirt)
  • button-down / collared – proper nouns
  • belts – verbs
  • hats – slang
  • bright socks – adverbs
  • pants – conjunction
  • jackets – exclamation points and/or question marks
  • gloves – butch inflections
  • scarf – fem inflections
  • underwear – numbers and/or prepositions