The Long Black Wig Project

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 A False Sense of History and video projections. The Rock: Cult of Consumption is a sculpture for performance and video. It has it’s mass from recycling bins, styrofoam heads from China and the detritus of holidays. As a connective fiber, the wearing of the long black wig imagery has roles within most of the videos.It can be the displacement of historic reference- it’s primitive, it’s victorian,it’s hippie, it’s bewitching. 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.



Cult Of Consumption          A work in progress, The Rock: Cult of Consumption has it’s beginnings as a vision surfaced of the Long Black Wig  hair stuck beneath it. It is cult of consumption with it’s mass and weight from recycling; a strange brew by- product. Camus Myth of Sisyphus is reckoned as a burdened to be pushed and pulled by. Movements of the Rococo, Romanticism, Surrealism and the alter modern are drawn from.

Cult of Consumption with projections on and around mass

The Sinking Space with projection of My Feminism Hurts My Marriage

The Long Black Wig Project is 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.

Lean In is about being a mother artist, an adjunct professor and in a town with limited opportunities in the arts. I find that when I Lean In there is nothing to lean in to, contradictory to Sheryl Sandburg’s book. An on-going work in progress, I host lean in circles for people to participate in.


Watch Vignettes of The Long Black Wig Project:

My Feminism Hurts My Marriage

I had to lean out when I was acting like it was a crime to humanity that I did dishes so often. As we see, when my boys were given the chore of dishes,The Long Black Wig Project began. They were paid for this too. Like surveillance, I will continue to record the perpetuity of dishes in participants homes. The wearing of the wig serves as a take on of the performative: assignment and authority.

Miss Sara Tonin’s Fancy and My Fair Roxy Tocin

The first of the videos made, we see a bit of horrific mockery of the questionable point, in the historical female experience, where our chemical release of hormones from shopping drove the consumptive culture. Is the artist pushed and pulled to consumption when immersed for a duration within an expansive and idealized  nature setting? Contemporaneously, It marks the turning point when the house is no longer projected onto the female, here, she is projected onto it. As they are older now, the boys drive ATV, shine light and record, becoming enablers in the production of art.

Witches Invasion  and They Do Dishes Too

I record my shadow as I dance to rock songs of the 60’s. As history fades from consciousness, the soundtrack is removed, with a residual female pulse loosed upon the world. The video morphs into the boys’ video game where, in a turn of history, witches invade a virtual clan. With a slow creep, They Do Dishes Too pulls from the tug of the boys’ group taunts and leisure times in idealized settings.In the face of mothering, domestic scenes unfold and weave into the current politics of gun violence and flooding.
The Installation:The Outer Edge of a Vacuous Space and Sinking Space. A multitude of fictitious and historical figures will be installed on the entirety of the right and facing walls. As in a gravitational pull, the center of this vacuity is The Sinking Space, where a vintage farm sink will lie and the video, My Feminism Hurts My Marriage, will play. The characters are about the imagined storyline of lives.The outfits on the wall are a post modernistic hodgepodge and revisited in the LBW videos. The multitude of videos will play in a relative place.

Video Stills

10 gun




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