an attempt at words...
[What are we doing? Where are we now?]
Through the act of not-making — a minimal intervention that avoids material transformation — the materials become the building blocks used to construct an embodied encounter with the work. The materials and actions are the language of embodiment in this third space. afghan blankets 2x4s wood deck screws shrink wrap LED light bars extension cords gravel concrete blocks OSB subfloor window a/c unit rubber plungers blue line chalk ceiling box lights Gorilla tape 6-mil construction film red zipper space heater 200-gallon construction trash bag bathroom exhaust fan microphone with cord powered speakers rubber gloves PVC braided vinyl tubing brass threaded-barbed fitting stainless steel adjustable clamps interior architecture and mechanical systems of Bolivar Art Gallery stored/found objects behind gallery walls electromagnetic leakage (audio recording of Bolivar Art Gallery) labor — both seen and unseen the body — our bodies another attempt at words...
[What are we doing? Where are we now?]
This exhibition is an opportunity to create a third space — an interruption — an in-between — a both/and — a heterotopia — a threshold moment between the familiar and unfamiliar, between the known and unknown, between public and private, between place and nonplace, between the mundane and sacred. The non-hierarchical treatment of the materials indicates the care and concern for their value — at times allowing the absorbed history of an afghan to be elevated to a place of aura within the space — considering a feminine divine — while also communicating the value of our collective lived experiences that are embodied within the space. Yet, without the contribution of the materials in relationship to the afghans, the aura would not be present. The Mono-ha idea of ‘not-making’ is adopted as means of minimal intervention — an avoidance of material transformations — suggesting that it is through the presence of the materials maintaining their familiar forms, but being experienced in unfamiliar ways, that their function transforms and is transformative. In this third space we are invited into a heightened awareness of our body as it interacts with familiar materials — as the body is given opportunity to navigate the presumed divisions between interior and exterior — as the body stands in relationship to the embodied forms, installations, and architecture of the space — as the body experiences a sensory immediacy that asks for embodied participation rather than visual contemplation. The presence of the body within this exhibition activates an unfolding of shared questions and concerns — finding a solidarity in, what Chuang Tzu refers to as, the ‘uncarved block,’ in which there are no distinctions. How might this suggest that the materials, forms, and architecture within a third space are indeed bodies as well — all in relationship existing as one transient embodiment? [What are we doing? Where are we now?] is, of course, all of these things but none of these things. another an attempt at words...
[What are we doing? Where are we now?]
[All of these things but none of these things.] Intuitive processes working within an adopted lexicon of materials and commonality of visual systems, many of which are domestic or associated with the construction of domestic spaces —— the acts and processes of home-making and home-building. An elevation of certain objects within a lexicon of materials, i.e. afghans, by considering their absorbed histories —— the lived experience and story of these objects —— possibly emphasized through the contrasting relationship with the newness of construction materials —— a consideration for the ontologies of these material forms, and their contribution to something that is both all of these things but none of these things. An aura or embodiment of the object —— suggested through acts of sheltering, care in folding/stacking, in an amassing or consolidation —— suggested through proximity or physical relationship (distance and/or accessibility) —— suggested through the use of light and varying transparency of surfaces —— suggested through the activation of the senses. An opportunity to create a third space —— an interruption —— an in between —— a both and —— a threshold moment between the familiar and unfamiliar, between the known and unknown, between public and private, between place and nonplace, between the mundane and sacred. A heightened awareness of the body within the work —— a consideration for access —— opportunity to visually enter with possible limitations on a fully physical embodiment of all spaces —— creating an inside/outside —— asking for a change in physical posture, or a bodily contortion, a directing of attention and attunement of the senses to fully participate. A sensory immediacy of the immersive environment/structure encourages embodied participation rather than mere visual contemplation. Encouraging the experiential —— a movement in and around —— a suggestion to interact with the environment/structures —— an invitation to participate —— an opportunity to act or gesture —— who is this place for? —— what is the function of this place? —— what is my role in this place? —— what are the associated, active, or implied rituals in this place? —— what are we doing? —— where are we now? |