slutty, witchy, faggy cats: 7 separate artists with wild ideas
This is a special event with new artists, who are exploring tons of boundaries and pushing our imaginations into vast stellar universes:
I am deeply concerned with moving the audience into a state of feeling, through anger on the part of the performer. In this way I view my practice as cathartically dialogical. The action of the performer allows the audience to become empowered though anger masquerading as love. This action allows for a wonderful doubling of empowerment for the audience as well as the performer. It also allows for everyone to be specifically located within their bodies, emotions and then mindsSarah Hill:
My process involves observing and thinking about what is happening in the world around me, and creating a response to it. I take something that is difficult or complicated and find a way to own it and convey that to the viewer. The viewer is left to organize their own story in response to what they have experienced.
I am interested in the uses and meanings connoted by materials and objects. I use common materials and objects �furniture/carpets, articles of clothing, sleeping and duffle bags, tape - in unusual ways, engaging the viewer� s senses of sight, smell, and touch. These situations work in a lingering way rather than an instant way, allowing for a philosophical pondering of meaning. Absurdity is employed to allow for contradictions in meaning. Common themes in my work are: temporality, memory, cultural displacement, and impermanence. Global events, everyday encounters, the work of Francis Bacon, and animal movement breed images and ideas that I incorporate into my work.
My practice is interdisciplinary, employing whatever process is most appropriate for the concept - painting, drawing, sculpture, installation, performance, and video. I am especially interested in the performance form as transformation. My studio is wherever I am at a given moment.
I start with my stuff. The arrangement and fastenings reference visual funnies or remain formal. Looking at fashion with sculpture in mind I am interested in the ways that the body and its costume can work as one non-human object. As a cat psychic I am inspired by the ongoing discourse with my two cats, Mr. Teenie and Bramble. They are the innocent eyes in my work and they teach me how to encounter my surroundings with curiosity and daring lightheartedness. My sculptures become attractants for humans and cats.
I acquire materials, ideas and references and then organize them into groupings. Once in there groupings I try to make sense of them visually and conceptually. Using different forms of craft such as crotchet, knitting, sewing and restoration of objects I am hoping to elaborate my pieces into forms that transcend there given materiality. During the long period of time that it takes to crotchet an object I have time to meditate on the project in concert with the rhythm of the repetitive action.
As a self-proclaimed professor of Fluffiology I try to translate a feeling of warmth and dreaming through my work. Different states of sleep and sedation are my goals for the viewer. I�d like to put people to sleep like a lullaby. The materials and use of time and space act as the lullaby. Once asleep I would like to serve a silver platter of dream snacks that force the body into uncontrollable sleep. The dream snacks should be a variety of flavors; some being sweeter like the image of a floating orb slightly pink with powder. Others should be spicy like jalape�os or a plump body covered completely in green gems.
Chris Zacher�s (Boston, MA) performative interactions with sculptural objects present themselves as familiar and unfamiliar cultural sight gags. His piece, BORN STANDING UP or EIGHT SIMPLE STEPS TO BETTER POSTURE, is intended as a joke told with a stutter, milking the viewer for a reaction before its impending failure. Zacher�s objects and images serve as attempted prosthetics, barely propping each other up within the situation where they are set, His performances exert attempts at a cathartic control, wrangling objects into a structure that will ultimately collapse.
CREIGHTON PAECHT BAXTER
Creighton Paecht Baxter is a slutty, witchy, faggy, femme interdisciplinary artist with a performance-based practice. Creighton's work investigates and interrogates cultural images of the abject, the feminine, horror, excess, and shame. In the past she has worked and exhibited collaboratively with artists such as Lyle Ashton Harris at SMOCA, Jarbas Lopez at the ASU Art Museum, and Sue Chenoweth at Ghost Gallery.
Jessica Borusky is a multi-disciplinary artist from Florida who currently attends the School of the Museum of Fine Arts, Boston for her MFA in studio art. Concerned with our flesh as a site for intellectual/physical histories and conversations, Jessica utilizes the body in performance, video, print, and text as a way to communicate radical discourse. She is also a founder/member of the Florida-based art collective RTRI. She enjoys moving and asking you how you are feeling while touching you, somehow.
JOE JOE ORANGIAS
joe joe orangias is a multi media and performance artist based in Boston. his work revolves around and explores ideas of life cycles, transformations, and utilities of objects, systems, and body, in effect with direct environment and context. He is interested in repetitious actions and variation within constant formal transactions that encapsulate those kinetic actions