unmakings

A particular life (mine) is a knotting of all the people that love me and that I love. But those things are outside of me. Pull them in to make them internal. The people build and destroy the walls, tangle the knots. They walk along maps—lines, roads, skins, bodies. And to put together an idea of myself, I need to re-member where I came from. The tree house. Why does Joanna Newsom connect to how I feel so often? That whole part about my childhood. Nostalgic about childhood because it was before I felt the world looming ahead of me. Totally unaware of what it means to be older. To be responsible for things. To reach for something aside from your mom or a toy or a slug on a rock. And those memories are all tied to that particular space. And interesting that that space has a history that has to do with craft and making. And my dad questioning the ‘function’ of art. So clay is important to my childhood. Clay that functions on a visual/optical level. Not sensory, no touching? But touch is important to making, touching art (and other things) is good. Little ideas: projection on window, film filmed from swinging over the valley, forest behind, clay objects littering floor. Strings connecting different points on the walls that represent different people. Parts of my life. Like a 3d mind map. Maybe a sound element that uses belly boat songs (sans voice). Whole installation is full of nostalgic/historical references to space and my own memory. An exercise in accessing memory through making. Making as an act to distract myself from painful realities, but then my mind wanders over them anyway. Destroying/rearranging as a practice of remembering how something came to be.

episodic -- thinking of installations as 'episodes' -- representing experiences

larry shea video

erica beckman -- cinderella

mark von schlegell -- venusia

ann hamilton, janine antoni

magic tricks