Small collage (8″x10″) on gold-flecked/trimmed board.
This October, I’ll be working with Michelle Marroquin and the Team to bring a 3 part dance performance to life at Eastworks in Easthampton, MA. Marroquin describes the piece as being about “women, attire, and the pressure to conform”. The choreography is smart and refreshing- full of whit, daring and a little gum-smacking. I’m excited for the challenge of working with moving bodies- I’ve been commissioned to design costumes for the show’s 2nd act which will feature a cast of 7 teenage dancer/choreographers.
In the studio, I’m busy making headdresses using mixed martial arts headgear as bases. It made sense as far as keeping things in place and being lightweight and served my concept in that I wanted to make these a bit more futuristic sci-fi armor than show-girl. The materials and the forms reference ideals and caricatures,deities and goddesses, princesses and cheerleaders, power suits, trophy wives and home makers, miss universe, princess leia, little bo peep and mrs. roper.
(The Team has just a little bit of a week to reach their fundraising goals- interested in helping them make their goal? Check out the fundraising campaign here !)
up through October 25, 2015, eat me a live so that i may see you from the inside features my sculpture and collages alongside the works of Maggie Nowinski (drawings) and Torsten Zenas Burns (video and media books)
*with a special event featuring an eat-me-alive-so -that-i-may-see-you-from-the-inside themed magazine launch with video curation by Torsten Zenas Burns, primary-blast-sleeping-bag-suits and octo-bread on Sept 24th from 6-9pm at MCLA Gallery51.
opening tomorrow, August 27th at Gallery 51 in North Adams, MA
eat me alive so that i may see you from the inside: expanded statement:
The title of this show, “eat alive so that i may see you from the inside”, was one i came up with. The phrase resonates with me; my work explores this conflict between our inner and outer worlds. There are unknowable interior spaces within and between people. There are mysterious realms which we secretly psychically retreat to. We pull in and away from our flesh, delving into a space where we might imagine new scenarios or replay events on an endless loop. These membranes are our housing, our smokescreens. We are all hosts to biological and thought-parasites. Our skulls are receptacles for broad ideas and our brains are ceaseless generators of weird dreams. We are hostage to these brains. These brains have the power to make us hate our own flesh…
I have a strong desire to share/ relate experiences, and a stronger frustration with my self-perceived inability to verbalize my reactions. When I am exasperated by the task of trying to explain tacit feelings or complex narratives, I imagine it would be easier to shrink my listener down to pill size so that they may meander through my pathways. I’d really like for them to take a ride through my subconscious. Or would I?
This phrase is also a tongue-in-cheek reference to being figuratively eaten alive by a fear, desire, or obsession.
When the viewer “digests” this work, they are taking in layers of meaning, metaphor, biography…hopefully it stays with them, incorporating this experience with their neurons. and I have gotten under their skin…into their system.
artist statement 2015
I’m an uneasy interloper exploring middle-class America. I take to the act of “staging” intuitively as if it’s genetic, but more than likely it is environmentally charged. I revel and flail in a culture thick on dramatic facades; one which confuses pageantry with ritual and gratification with catharsis. My contemporary propensity for material worship is at odds with my primal desires and my empathetic human nature. All of this incongruity casts a long shadow under which my humor blackens.
Combining fantasy imagery and festive novelty items with banal stuff from daily life, I create playfully absurd tableaus. Discarded appliance packaging, broken furniture, orphaned formalwear, and an assortment of cheerfully cheap party products are layered with cosmetics
in configurations suggestive of wedding cakes, parade floats, temples and altars. I elevate them as sacraments, hoping to cast them as future relics of our absurd culture.
The work is self-consciously theatrical with sprays of lush color, excessive decorative embellishments, and sensual, soft puppet-like forms. This perverse sugar coating melts lavishly over a complex narrative fraught with discord. I see the objects in our lives as witnesses to our hidden pain and repressed glory. I imagine these things as sentient beings. Silent for so long, they are bursting from their seams, threatening and capable of revealing our secrets.