Tension and Liminal Space

Most of my work includes the body in some way or another and most of the time it is my own body (after all, what are artists if not narcissists. We love talking/creating about how we feel and making other people deal with it). I love working in mixed media and process based mediums and absolutely adore hair and making a mess. I love investigating the things that make us draw our shoulders up to our ears and clench our jaws and only realizing it when we remove ourselves and everything relaxes again. I love tension and I love release, I love letting myself be tense and making myself tense and making others tense and releasing all of that again. I love the moments between tension and release and the small moments and feelings in transition. 


Exploration in Atrophy

Exploration in Atrophy consists of photographs of decaying buildings throughout Chicago and the Midwest. The liminal space within a building that has been abandoned is both empty and full, physically deprived of most human possessions but emotionally plentiful in stimulus and mystery. Being inside a place with no borders evokes a sense of freedom to do anything and go anywhere but this doesn't come without the heightened awareness that fear and caution bring when being in a space that is more or less unregulated. Abandoned buildings are where man-made destruction and natural decay meet and are intimately intertwined with each other in the most beautiful, seductive, and almost human way. These places feel frozen in time with decades under their belt. There is no real way to describe the stagnant yet active air inside of these structures but I hope these photos help convey a small part of what I fell in love with in these buildings. 


Body

September 2017

 

My body of work currently focuses on 3D objects and performance pieces usually establishing the body as an object rather than the subject. I'm very interested in tactual experiences, full-body experiences, and exploring a more immersive art form in the way that the audience experiences it. I'm very drawn to sculptures because viewers will relate to it with their whole body rather than just their headspace, especially when the piece they are looking at has the human form in it in some way shape or form. I hope to expand on how I materialize my concepts and strengthen my technical execution skills. One of my favorite performance artists is Marina Ambromovic, as cliche as that is, because her work was directly connected to the discipline she learned throughout her life from her militant parents. This ability to surpass her body's physical limitations through an almost meditative way of thinking is the most fascinating thing to me. 

Repetition and Touch

April 2017

My current work mainly consists of objects centered around the idea of the self and the human form as an object rather than the subject. I try to sway from “who” you’re seeing to “what” you’re seeing when I include a person in my work.

My pieces are mostly monochromatic, I stick to neutral and grey tones. When I do include color in the work it is very sparse and limited. The color palette is very much cool-based, I am not drawn to reds and oranges as much as I am to the family of blue.

In terms of content, I usually stick to topics having to do with the person and the human. I am very drawn to the figure and how relatable it is and how I can change it into something less relatable so the viewer can look at what the piece is trying to tell rather than what the piece is displaying. This is easier explained through my use of multiples; I really enjoy repetition and am drawn to it because of its ability to force people to notice details. When we view multiples of something we immediately notice the discrepancies and the similarities between them rather than just focusing on the surface level content. For example, if I only had one print on display the viewer would only look at what the print was of. But by displaying many of the same print the differences between them are the thing that stands out the most. It makes the audience look deeper into it instead of just focusing on the literal form that they are presented with.

Much of my current work is centered around dissociative identity disorder. It’s a very difficult disorder to diagnose but one that many people can relate to even if they don’t suffer from it. However, the way in which they are able to relate to it is the same way someone who was sad once can relate to someone with clinical depression. Everyone is searching for who they are as a person and as a part of society, no one knows what they’re doing and we are all just confused and trying to get by (at least in my specific demographic). What I focus on is much different than that for me personally. It’s more of an exploration of how I react to things. I feel multiple emotions at once and I am able to justify all of them logically and it makes it very difficult for me to know what I’m actually feeling as “Isabella” and how to react from there. It is easy for me to deadpan a reaction because often all the reactive feelings cancel each other out or contradict each other.  In the end it just becomes easier to not feel anything. But like the color white from a TV (where all the lightwaves are present so they just merge into the white we see) rather than the white from a piece of paper (complete lack of pigment).

Repetition helps me to find the similarities in them, and those similar details end up being the focus of the piece for me. The hand of the artist usually appears more when you can compare multiple works and the specific mannerisms of the artist become apparent when you compare multiples of the same piece. Being able to see the mannerisms come to fruition help me to center myself and hopefully bring some calm to other viewers as well, even though the content is usually not as comforting.

Through my art I try to deal with the body in an attempt to connect to mine. Through touch and experience I try to jog my memory and connect to a situation I feel so much distance to.

It’s about connecting with the self through touch and repetition. I don’t use much color because I don’t want that to influence how viewers feel about them; colors can be such loaded things. I try to keep away from creating angst driven pieces of work because I feel like they don’t help me to move forward or to understand what happened. I try to reconnect to myself through repetition and through the repetition throughout my multiple emotions and reactions and I document it in a way I hope to share with other people.

Through repetition I explore the details that pull things together. I relate to things physically, it has always been hard to trust my mental self; constantly having multiple reactions running through has made it hard to know which is real and which is influenced. Through physical touch, and visual repetition, I hope to portray what I am feeling and how I’m coping with other people. Maybe through repetition and touch, other people will be able to figure out what centers them and explains what is happening around them.