1. Steeping Stone is an abstracted exploration into the latent desires of the artistic mind. Reaching to the beginnings of creative thought and influence as well as their eventual evolution; the ideas and imagery in this work are one part psychological renderings, one part confessional, and one part resignation. It is a dichotomy of the guttural and analytical mind told through sculpture, dance, music, and text.

    As I prepare to enter my fourth decade of life, I turn back to examine the path I have followed, appropriating images and ideas from my past, to explore them within a newer context. The evolutionary chart of my gender associations, from feminine to masculine, lay splayed in a public forum, dissected and animated for public consumption.

    Even our solid core, laid steeping for decades, erodes, dissolves, settles and metamorphoses into something less solid, but just as potent.

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  2. This is the video projection of the text that was a part of "Steeping Stone", a performance I created and debuted at the Lone Start Explosion Performance Biennale, in Houston Texas in 2014.

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  3. LIMBOLANDIA is a performance/video collaboration by artists Michael Anthony García and Natalie Goodnow, created in response to a section of the chapter “Tlilli, Tlapalli / The Path of the Red and Black Ink” in Chicana feminist theorist and author Gloria Anzaldúa's Borderlands/La Frontera: The New Mestiza. Josh T. Franco invited us to respond to this section of Anzaldúa's text as part of a feature in zingmagazine called "DOUBLECROSS." Anzaldúa likens borderlands to open wounds, worlds that are neither in this country nor that, but spawn their own new embattled subjectivities. She describes her own creative process as a birth, in which works of art emerge from similar internalized borderlands within.

    Our work explores both the resonances and discordant notes between our own creative processes and those that Anzaldúa articulates. In LIMBOLANDIA, we explore the problems and possibilities of identity politics - the power and the risks of daring to raise one's voice in concert with others. Our abstracted video collage is comprised of various drawings related to imagery Anzaldúa uses in her text, sections of protest songs, appropriated footage of the Rio Grande, as well as performative elements developed for the task of creating this new work.


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  4. This piece was created in 2005 for an evening of performance I was asked to curate at the Hideout Theatre in conjunction with "No Shame Theater."
    This piece was my first attempt in tackling the concept of insecurities. In "What's All the Croaking About?", the pig-masked individual strives for an ideal that is totally out of his reach, and goes so far as to slowly strips away at who he is to become this ideal.Once he does become what he has longed to be, he is, literally,no longer himself.

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  5. "The Leontyne Price to Pay" was a piece I wrote and performed with Kimberly Pollini, a vocalist/ songwriter and frequent performance collaborator. It also debuted at the Hideout i 2005 for the evening of performance I curated for No Shame Theater.

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Michael Anthony García

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