Removing mediated institutional parameters - D.S overview
"How the transformation happened is rarely remembered, in part because it is compromising: it recalls the mainstream when the mainstream was, say, rabidly homophobic or racist in a way it no longer is; and it recalls that power comes form the shadows and the margins, that our hope is in the dark around the edges, not the limelight of centre stage". Rebecca Solnit, Hope in the Dark: Untold Histories, Wild Possibilities.
Amirault, Gov' Rose S., student loan form, dog shit, blank stare. 2013
Abstract:
Working through elements of embodiment, artist/audience relationship as it functions within a gallery space, text and art, and ephemerality versus documentation, this course serves a time-based medium by engaging with elements of discovery and experimentation, allowing the creative process to flow as public.
This year, I am working on coming into myself as an Indigenous woman in the world through my art practice. And I think that process would best be described as one of decolonial love. My materials include my body, my stories, and the process of “coming into” itself. These materials will come to shape the following performances and sculptures. I will also document the undulations of this process, which may include but is not limited to: written reflection, photo/video documentation, creative writing etc.
This year is about reconciling two tasks that I face: to look back without shame, and to move forward with love. Didactic, necessary, abstract or otherwise, I will continue to speak with my integrity and passion intact.
So, naming a specific subject matter is as open as the conceptualization of decolonial love. Hoping these questions are as directional as my intent, I ask:
- How do I hold love and rage simultaneously? What does that look like as an art practice? When are the moments that seem to embody this notion of decolonial love and rage and how do I choose to remember it?
- How does a practice of decolonial love influence working with materials. Does this redirect my research methodologies?
- How might the conceptual development, creation and reflection shift as I try to engage with an embodied learning?
- How does a creative process/practice change when engaging with experimentation and public iterations from the studio?
- What is the artistic agency of decolonial love?
- Why a time-based artwork and not [insert alternative medium]?
- Why sculpture and not [insert alternative medium]?
Then...
Focusing on each artwork specifically, I will be asking and answering (and then asking again) the following questions:
Think about what research I will have to do to inform myself on the related subject matter/topics?: i.e. at this point what do I know, what do I still need to know? This can include, but not limited to books, related courses, exhibitions, interviews etc.
Develop a working description of my position is on these subjects:where do I stand? Why do I take that position? What, if any, emotions are involved, senses, philosophy, and experiences?
Describe the audience I imagine to be reached by your project: Reflect on the audience/spatial relationship post-performance and reiterate/experiment as needed/desired
Performances:
I'm Sorry
In-separable
What Remains?
Sculptures:
Bitch, you mean what?
Indian Drum
