ARTidotes

The pieces in this series represent the relationship between healing and movement. Each figure is dancing and moving. They can be dancing together or dancing alone. In my culture, dance is a very spiritual activity. It is used to bring healing, to bring spirits in multiple styles of praise and worship, and to tell stories. Each of these figures is coming into their own understanding of what it means to move and grow.

The pieces in this series represent the relationship between healing and movement. Each figure is dancing and moving. They can be dancing together or dancing alone. In my culture, dance is a very spiritual activity. It is used to bring healing, to bring spirits in multiple styles of praise and worship, and to tell stories. Each of these figures is coming into their own understanding of what it means to move and grow.

Las Princesas

Stop by to make your own ARTidote BALLOON! BY APPOINTMENT!

Synergy seemed to be the biggest reflection for me during this residency. As I came into the space looking to ground down into my work, I sat in the middle of Carolina's installation which was still performing in many ways on its own. Sitting in the midst of it felt like I was taking part in her performance, included in the conversation. From there I also realized how much stylistic synergy there was to one of my ongoing series that examines drapery & ongoing existence/essence in art materials.

As I unpacked my materials and hung previous sketches on the walls, I kept returning to that seat in the middle of her performance. From there I began to photograph my new creations/space/essence from the perspective of her creations/space/essence. My work in the background, hers in the foreground. When I shared a snippet of that on Instagram, I literally wrote "weaving" as caption context. Then, I went to sit down to paint more and as I sat down, I saw a spider cruising across my sketchpad.

The artist residency experience at its core is a gift of space + energy :: the chance to leave one’s comfort zone, to insert dialogues & perspectives not fore frontal to flow, and to document incubation. Capturing the seeding process. And in that, synergy and serendipity are the essential ingredients.

When I was approached about taking part of this project, I was excited and apprehensive at the same time. I rarely do site-specific work as I usually work in isolation. However, a number of concepts merged together to give me the inspiration for my project. My final installation is composed of masking tape strips, each one a face lifted off newspaper on a single strip of tape. I’m playing off the “mask” in “masking tape” and how we all wear more than one kind of mask – a physical one to protect us from a pandemic and another kind of mask to protect our mental selves. My piece reflects those we choose to bring into our lives, those we choose to believe in and follow, and all the good and bad experiences they bring with them. Each strip is tabbed and visitors to the gallery may pick one strip a single strip home with them. They will then be responsible for their relationship with it as leave the gallery – its safety, its transport, and its ultimate home. They decide where to place it, how they interact with it, and determine its meaning.

When I was approached about taking part of this project, I was excited and apprehensive at the same time. I rarely do site-specific work as I usually work in isolation. However, a number of concepts merged together to give me the inspiration for my project. My final installation is composed of masking tape strips, each one a face lifted off newspaper on a single strip of tape. I’m playing off the “mask” in “masking tape” and how we all wear more than one kind of mask – a physical one to protect us from a pandemic and another kind of mask to protect our mental selves. My piece reflects those we choose to bring into our lives, those we choose to believe in and follow, and all the good and bad experiences they bring with them. Each strip is tabbed and visitors to the gallery may pick one strip a single strip home with them. They will then be responsible for their relationship with it as leave the gallery – its safety, its transport, and its ultimate home. They decide where to place it, how they interact with it, and determine its meaning.

When I was approached about taking part of this project, I was excited and apprehensive at the same time. I rarely do site-specific work as I usually work in isolation. However, a number of concepts merged together to give me the inspiration for my project. My final installation is composed of masking tape strips, each one a face lifted off newspaper on a single strip of tape. I’m playing off the “mask” in “masking tape” and how we all wear more than one kind of mask – a physical one to protect us from a pandemic and another kind of mask to protect our mental selves. My piece reflects those we choose to bring into our lives, those we choose to believe in and follow, and all the good and bad experiences they bring with them. Each strip is tabbed and visitors to the gallery may pick one strip a single strip home with them. They will then be responsible for their relationship with it as leave the gallery – its safety, its transport, and its ultimate home. They decide where to place it, how they interact with it, and determine its meaning.

The pieces in this series represent the relationship between healing and movement. Each figure is dancing and moving. They can be dancing together or dancing alone. In my culture, dance is a very spiritual activity. It is used to bring healing, to bring spirits in multiple styles of praise and worship, and to tell stories. Each of these figures is coming into their own understanding of what it means to move and grow.

Synergy seemed to be the biggest reflection for me during this residency. As I came into the space looking to ground down into my work, I sat in the middle of Carolina's installation which was still performing in many ways on its own. Sitting in the midst of it felt like I was taking part in her performance, included in the conversation. From there I also realized how much stylistic synergy there was to one of my ongoing series that examines drapery & ongoing existence/essence in art materials.

As I unpacked my materials and hung previous sketches on the walls, I kept returning to that seat in the middle of her performance. From there I began to photograph my new creations/space/essence from the perspective of her creations/space/essence. My work in the background, hers in the foreground. When I shared a snippet of that on Instagram, I literally wrote "weaving" as caption context. Then, I went to sit down to paint more and as I sat down, I saw a spider cruising across my sketchpad.

The artist residency experience at its core is a gift of space + energy :: the chance to leave one’s comfort zone, to insert dialogues & perspectives not fore frontal to flow, and to document incubation. Capturing the seeding process. And in that, synergy and serendipity are the essential ingredients.

A Snake in the Day and a Fish by Night

This is a performance made for the camera, something I am doing more of as the pandemic has altered the in person performance art experience. It is centered around two sections of Rumi poems, and framed with a numeric system 1-10 (specifically using Farsi numbers). The sections of poem are:

“Your ‘self” is a snake in the day and a fish at night”

“We are poor ants, collecting love”

This video compiles the performances for the camera: movements using the rhythm of counting in sets of 10 in combination with the poems, and my hands sculpting 30 phallic clay pieces. By combining these two very different gestures, and working within the structure of numbers and text, I see room for intimacy and humor around performing these actions for no audience. The works together show accumulation and physical acts of making as a means to no destination, circuitous and reflective.

Making this work in the space of a residency framed by healing was a large part of the resulting work, and something I look forward to exploring more. I am so grateful for the space to explore this project and to lean into making alongside such a wonderful and meaningful group of artists!

A Snake in the Day and a Fish by Night

This is a performance made for the camera, something I am doing more of as the pandemic has altered the in person performance art experience. It is centered around two sections of Rumi poems, and framed with a numeric system 1-10 (specifically using Farsi numbers). The sections of poem are:

“Your ‘self” is a snake in the day and a fish at night”

“We are poor ants, collecting love”

This video compiles the performances for the camera: movements using the rhythm of counting in sets of 10 in combination with the poems, and my hands sculpting 30 phallic clay pieces. By combining these two very different gestures, and working within the structure of numbers and text, I see room for intimacy and humor around performing these actions for no audience. The works together show accumulation and physical acts of making as a means to no destination, circuitous and reflective.

Making this work in the space of a residency framed by healing was a large part of the resulting work, and something I look forward to exploring more. I am so grateful for the space to explore this project and to lean into making alongside such a wonderful and meaningful group of artists!

A Snake in the Day and a Fish by Night

This is a performance made for the camera, something I am doing more of as the pandemic has altered the in person performance art experience. It is centered around two sections of Rumi poems, and framed with a numeric system 1-10 (specifically using Farsi numbers). The sections of poem are:

“Your ‘self” is a snake in the day and a fish at night”

“We are poor ants, collecting love”

This video compiles the performances for the camera: movements using the rhythm of counting in sets of 10 in combination with the poems, and my hands sculpting 30 phallic clay pieces. By combining these two very different gestures, and working within the structure of numbers and text, I see room for intimacy and humor around performing these actions for no audience. The works together show accumulation and physical acts of making as a means to no destination, circuitous and reflective.

Making this work in the space of a residency framed by healing was a large part of the resulting work, and something I look forward to exploring more. I am so grateful for the space to explore this project and to lean into making alongside such a wonderful and meaningful group of artists!

Champ It

The car used in this interactive performance art has been in my husband’s life since he was a kid. The manufacture name for the car is CHAMP, a 1982 Plymouth, manufactured by Mitsubishi. This car has been in my family since 2011, when my husband’s parents gave it to him when we moved to Virginia. The endurance of this car, it’s simplicity, and it’s name is the perfect piece of art to go along with a performance that is about courage, survival and perseverance.

During my #ARTidotes residency at the Joan Hisaoka Healing Arts Center Gallery, I will be creating a special mural to represent our different levels of discomfort. Abstract drawing shapes will hang in front this mural.

The shapes are a representation of different phobias, fears, anxieties, and anything else that takes a person to a painful place. During the performance, my husband @sciencethecat will shout out live requests from YOU as I manually move the shapes from the mural to attach them to the CHAMP, which will be located outside of the Gallery. Metaphorically, I will be removing negative energy and transforming it into an art composition on the surface of the CHAMP. In the live feed of the gallery performance, the audience will be able to request which shape to move outside and be a part of CHAMP art.

Champ It

The car used in this interactive performance art has been in my husband’s life since he was a kid. The manufacture name for the car is CHAMP, a 1982 Plymouth, manufactured by Mitsubishi. This car has been in my family since 2011, when my husband’s parents gave it to him when we moved to Virginia. The endurance of this car, it’s simplicity, and it’s name is the perfect piece of art to go along with a performance that is about courage, survival and perseverance.

During my ARTidotes residency at the Joan Hisaoka Healing Arts Center Gallery, I will be creating a special mural to represent our different levels of discomfort. Abstract drawing shapes will hang in front this mural.

The shapes are a representation of different phobias, fears, anxieties, and anything else that takes a person to a painful place. During the performance, my husband @sciencethecat will shout out live requests from YOU as I manually move the shapes from the mural to attach them to the CHAMP, which will be located outside of the Gallery. Metaphorically, I will be removing negative energy and transforming it into an art composition on the surface of the CHAMP. In the live feed of the gallery performance, the audience will be able to request which shape to move outside and be a part of CHAMP art.

Champ It

The car used in this interactive performance art has been in my husband’s life since he was a kid. The manufacture name for the car is CHAMP, a 1982 Plymouth, manufactured by Mitsubishi. This car has been in my family since 2011, when my husband’s parents gave it to him when we moved to Virginia. The endurance of this car, it’s simplicity, and it’s name is the perfect piece of art to go along with a performance that is about courage, survival and perseverance.

During my ARTidotes residency at the Joan Hisaoka Healing Arts Center Gallery, I will be creating a special mural to represent our different levels of discomfort. Abstract drawing shapes will hang in front this mural.

The shapes are a representation of different phobias, fears, anxieties, and anything else that takes a person to a painful place. During the performance, my husband @sciencethecat will shout out live requests from YOU as I manually move the shapes from the mural to attach them to the CHAMP, which will be located outside of the Gallery. Metaphorically, I will be removing negative energy and transforming it into an art composition on the surface of the CHAMP. In the live feed of the gallery performance, the audience will be able to request which shape to move outside and be a part of CHAMP art.

Champ It

The car used in this interactive performance art has been in my husband’s life since he was a kid. The manufacture name for the car is CHAMP, a 1982 Plymouth, manufactured by Mitsubishi. This car has been in my family since 2011, when my husband’s parents gave it to him when we moved to Virginia. The endurance of this car, it’s simplicity, and it’s name is the perfect piece of art to go along with a performance that is about courage, survival and perseverance.

During my ARTidotes residency at the Joan Hisaoka Healing Arts Center Gallery, I will be creating a special mural to represent our different levels of discomfort. Abstract drawing shapes will hang in front this mural.

The shapes are a representation of different phobias, fears, anxieties, and anything else that takes a person to a painful place. During the performance, my husband @sciencethecat will shout out live requests from YOU as I manually move the shapes from the mural to attach them to the CHAMP, which will be located outside of the Gallery. Metaphorically, I will be removing negative energy and transforming it into an art composition on the surface of the CHAMP. In the live feed of the gallery performance, the audience will be able to request which shape to move outside and be a part of CHAMP art.