The goal of my work is not to harm myself. I start with the image/idea and work backward through the logistics. If I am doing something dangerous- like covering myself with bees or falling in a frozen lake- quite a bit of research goes into the work before we start rolling.
It's been quite a mentally violent "awakening". OVERLAY is actually a poetic answer to the kind of violence we are enduring, especially as that violence relates to women's bodies and women's civil, political and personal rights.
It’s crucial to me that what I offer to the viewer remains as open as it can be, open to interpretation and all sorts of feelings. All of my work is about that, about facilitating feelings and allowing the viewer to be responsive.
What we found was very violent, very powerful. I wanted the real thing. Not After Effects and postproduction. You don’t cheat.
Established and emerging artists share rooms, for free, in underused and historic New York City spaces. We approve everything that comes in, not only for quality control, but for our sense of its relevance in the current cultural climate and our own personal tastes.
There are still a few purists out there; those who consider the word “curator” to be earned rather than “assigned” by the quick shifts of social media algorithms or Twitter analytics.
He is a free agent, able to move about seamlessly though variant circles of contemporary art, both high and low. He seems to revel in movement, even though the things he references in his work are highly static and petrified.
Miami isn’t just Basel. Repeat (and clarify): Miami is NOT just the week of Art Basel Miami Beach and its surrounding festivities.
There’s the kind of synthetic, pre-fabricated “beauty” you could find on Instagram, nowadays, and then there’s unmitigated, elevated beauty.