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.|
“..how can shame be used not as a moral reproach but as a goad for action” – David Halperin
So much good stuff in this read that speaks to my current interests:
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”
“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.”
Did some writing this summer about… Why I rarely make serialized work for One Good Eye Online
These are all notes taken from the Intro to the Affect Theory Reader by Editors, Melissa Gregg & Gregory J. Seigworth
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.
Potential Parts of Speech of Items in Closet