Installation Performance Work
Collaborative Project with Anthony Morgn’s Inspirational Choir of Harlem
This installation performance work extends and elaborates the ideas I’ve been pursuing for over a year, primarily: where does the artistic body belong and what, if any, is its purpose? What must the artistic body affirm? As an artist, I see myself as a translator or mediator of culture, organizing structures and performances in combination with pre-arranged elements (i.e. a triangular structure composed of a choir; barrel cannon on circular base, a customized kiddie ride with coffin) and combining different kinds of time—real time and pre-recorded. In this larger performative context, the work’s criticality is based on the multiplicity and simultaneity of interventions during a performance—in the ability to perform my relationship to different times and genres. The subject matter, the political and cultural dimensions are an attempt to insert myself and redefine my relationship to American history using materials already at my disposal. The body becomes a catalyst of resistance through continuous change; a figure of ensuing flux; unfixed, a sort of shape shifter through our collective history. As an artist interested in the conditions of perception, the ability of an artist to navigate and explore this complex history—to complicate and embody it—is where a sensibility is born.