Archives for the month of: June, 2012

To view the performance follow this link:

Damaged Goods: Video Documentation

Caitlin Myers and myself will be performing today at DePaul Art Museum 5:45 sharp. Opening reception for the Senior Thesis Exhibition is from 5-7pm. The piece includes and artist book that can be freely turned through, and a set of hand made stamps to be used with images (by Annie Stewart) for viewers to use and take with them.

 

Statement:

 

Damaged Goods

Department of Art, Media, and Design Student Thesis Exhibition 2012

Performance: Approximately 10 minute runtime
        Is it better to be an Art Object instead of an Object? Performance allows me to explore the human relationship to objects. In the past, I chose to represent objects that I have identified with over a period of time. Through drawing, painting, and printmaking, I have gone through the process of at first repeating circular forms, then repeating renderings of cooked shrimp abstractly with a fluid continuous line.
       An Anjou pear is essentially a unit that can act as an ambiguous symbol, if the viewer so chooses to reject personal identification altogether. However to me, it has more personal significance. I am enticed by complexities of language because with prowess, something as banal as a piece of fruit is ignited with conceptual and performative power. This piece signifies a shift from representational art to the use of objects through performance art.
      The performance consists of an interaction amongst Kat Myers, an artist book with passages (written and drawn), constructed stamps, a pear, and myself. Not only are visitors invited to look through the book as a record of the performance but also to discover additional content than was performed. Viewers are also invited to utilize the stamps, inks, and images provided at the end of performance in any way they wish. The action of stamping becomes exaggerated because of the stamps’ curvatures. Because of this deliberate quality, we become aware of our action of labeling, and the responsibility of that action is inferred. It is my desire that the investigation of the language in the performance has potential to exist beyond the confines of the museum. I intend for the stamped images to be taken home and then held up to a mirror to decipher the words ‘OBJECT’, ‘PRODUCE’, ‘temporal’, and ‘corporeal’. The outcomes can be seen as relatively limited (4 stamps x 2 photographs x 2 colors of ink = 16 combinations). In all capitals, ‘OBJECT’ and ‘PRODUCE’ either become imperatives or suggest classification. ‘temporal’ and ‘corporeal’ more-so elude to qualities of being (and to qualities of performance in general). Classifying with these words presents another exploration of language as being fixed in structure but unbounded in potential meaning. However, the words are restricted again by the way they were constructed for the piece. Meanings of words, like art objects, change according to their context. In the same way we manipulate the meaning of words by use of pun, we can also use them to displace guilt or blame: damaged goods. This project has led me to the following question: How do we negotiate order?

Amy Sinclair, May 31, 2012

Chicago, IL