What I want people to know: As the LBW Project is nearing it’s first public viewing and I am removed from the production mode, I have concluded with a few insights and speculations as to what binds and ties it together. It truly is an entanglement of themes. Here is where Physics plays a dominant role in my perceptions: The installation, being in time and space, references through it’s subtitles “The Outer Edge of a Vacuous Space” and “The Sinking Space”. At the center of this vacuous space (The Amity) is what I call The Sinking Space. Here lies a kitchen sink sunken into Great Stuff, the installation foam. Recall the Idiom Everything but the Kitchen Sink? This is NOT that space. In common terminology, a vacuous space means that you are void of thought (kinda like doing dishes). In physics terminology, a vacuous space is not empty. It is a space that has gotten rid of everything it does not need and what remains is what is needed (much like the art for the exhibit). Wha remains too is a field, a field that we can liken to The Higgs Boson (which I have a collection of paintings on this subject), a field where string theory exits (my fictitious characters are strung and suspended in an entanglement) and a field where, we now know, waves of sound can be heard from collisions of black holes. At this Sinking Space of mine, as if in a gravitational pull, lies a kitchen sink where a video plays of people doing dishes. Not just any persons but artists in my community. They wear a long black wig that I made and I have recorded them, much like an angle from a surveillance camera, in the act of doing their dishes. A recurrent action that for one, is so often undocumented and two, gets in the way of doing your art. I made the act become the art instead. The Outer of Edge of a Vacuous Space is where suspended prints of characters are strung. They are on the surface as if at any moment they could be released from our presence. To summarize this, the Physics concepts of a Vacuous Space and Quantum Entanglements encapsulates the work and allows it to not be about one thing. It encapsulates the ideas to address the multitudes of circumstance in my everyday life that needed to be brought to the foreground/ the art.They are: Observing and recording my children’s behavior in group play in light of gun violence (yes, they are playing with toy guns). My criticism of consumer culture as a reaction to communities allow such indiscriminate purchase and waste (and my being caught in it, pulled by it- as seen in video vignettes). Then there are moments as if in dreams where I bring characters to life that are entwined in false history and reality, it’s make believe. What I aimed for in it’s creation was to be present, right? To stomp my foot in the here and now and become conscious through mere interception of everyday surroundings for the fodder of art. This is my approach at being Contemporary. I don’t want to be a post-modern artist, a feminist artist, a political artist or an artist who make beauty for mere consumption. It’s not about one thing, yet it’s housed in a relative space, relative enough, I hope, to reflect shared experience; the strung together artist’s mind, crossing to the public’s view.
The Long Black Wig Project consists of video projection, sculpture for performance and installation. A contemporary dialogue revolves around gender and domestic chores and the role of feel good hormones in our acts of consumptive culture. Within a space, the Long Black Wig Project is encapsulated in a vacuous space where it’s central gravitational pull is The Sinking Space. Here lies a vintage kitchen sink with a projection of the video My Feminism Hurts My Marriage.The idiom Everything but the Kitchen Sink speaks of the plethora of items we think we need. This is not that space. The Outer Edge of a Vacuous Space is the surface of the wall and it’s region with the installation of characters and video projections. The Rock: Cult of Consumption is a sculpture for performance and video. It is cornered within the space. As a connective fiber, the wearing of the long black wig imagery has roles within most of the videos. In false historic costume the artist and participants are set within a contemporary plot. The imagery looks bewitching with a feminine edge, and is aware of it’s comedic moments.
Watch Vignettes of The Long Black Wig Project: