This summer I created an immersive installation on Governors Island as a 4heads PORTAL House resident that proved to be a seismic shift in my practice.
Apropos of the type of work I’ve been creating since 2018, the work I INTENDED to create on Governors Island was a collection of 1:8 scale dioramas. I had planned to construct several separate pieces each populated by a community of 11” tall bat/human hybrids that would explore connections between viruses (foreign bodies), community, and colonization.
Below is a concept sketch of some initial ideas of how I might activate the space I was given. I included this sketch in my application package.
When we’re young, we don’t dwell on thoughts of mortality. Our bodies feel good, look good, and perform well. Lack of maintenance – or even self-abuse – doesn’t seem to have much of an effect on the resilient machines that we are.
After 40 or 50 years, however, the machine benefits from more regular maintenance and less rough handling.
I would have done well last week to keep this in mind when I was racing my 52-year-old Bernina 731 sewing machine and flipping switches back and forth like a demon. One rough flip too many and that was that. I broke the needle position pin.
Not having access to a dedicated woodshop has meant that I’m finding creative solutions for the shapes and sizes of wood that I need to build the base and four 42” high columns for The Bearded Lady diorama.
Progress has been slow, but forward moving. On one hand, the snail’s pace of this piece has been agonizing. On the other, it’s meant that I’ve had bonus time to enrich the work by adding more details and contextual layers. Have I mentioned lately how much I love research?
This is a fine solution for artwork that is digital in nature (video, photo) or meant to be viewed head on from one perspective (2-D works), but what is the future of installation and 3-dimensional artwork that demands a collective viewing of multiple perspectives?
For logistical reasons (and, if I’m honest, to keep my nerves at bay), I decided to not capture the December 6th artist and curator talk for my solo show at Radiator Gallery on video. I was happy that curator Peter Gynd (who leads an excellent conversation, BTW) caught the audio on his phone and kindly shared it with me.
There were 30 or so attendees who enjoyed the talk immensely. I thought I would transcribe it and share here for those of you who are keen to learn more about my practice, process, and, in particular, this intensely detailed series.
Confession: Transcribing the audio was a bit of a harsh reality check ;-).
There’s nothing quite like hearing yourself consistently substituting “and, so…” for sentence breaks instead of ending a thought and then starting a new one after a clean pause. As it turns out that my comfort words are, “actually”, “sort of”, “kind of”, “like”, “um, so”, and “and”. I also have a habit of starting a sentence, then changing my mind part way through and heading in a completely different direction. Quite natural and acceptable in conversation, but a mess to read.
To make your experience of the transcript more pleasant, I’ve polished up the text, omitted many of these personal verbal idiosyncrasies, and added images for reference throughout.
FYI, it was a 30 minute conversation followed by a 15 minute Q & A. Get yourself a beverage (we had wine!) and then sit down to read. It’s the next best thing to having been there. And don’t feel sad about about not being able to participate in the Q&A – feel free to ask a question in the comments!