I have focused on the most basic and direct means of interaction that I
can find. This is a process that involves the spoken, written, and
performed word, to the ends of eliminating room for error in interpretation.
Breaking the audience out of a passive stance and incorporating the
viewer into the work is my primary concern, which I have pursued by
a number of means. My motivation stems from conflicts in the role of
art in my own life and society, and a desire to invigorate art with
a sense of camaraderie or fellowship between artist and audience.
The interaction between artist and audience is an unpredictable one.
The role of artists in Western society has long been one of social
leader and
commentator charged with shaping the ever-evolving identity of modern
life. This has led both art and artist to be placed on a pedestal
(literally
and figuratively). This raising of art has led to a point at which many
non artists feel incapable of overcoming a certain elitism in art, and
therefore are unable to embrace it as part of their own culture. This
schism is present on all levels, from within this academic institution
to a global
distancing from “high” art in general. This generates ambivalence
present on all fronts. Artwork presented in traditional means only reaches
those who are already willing to participate in a gallery environment,
whereas those who may have a more enriching experience with art deny
it to themselves.
The content of my work is present in these issues that I am struggling
with. In essence, my artistic concerns stem from the deeply held belief
that artists have a moral obligation to the society they live in and
comment on. This obligation manifests itself in the need for artists
to generate
work that in some way positively benefits said society, directly or
indirectly. The issue that is most evident in my artistic practice
concerns validating
the long scoffed notion of the universality of art; thus my heavy interaction
with my audience in non-traditional, non-gallery undertakings that
are fun, engaging, and rewarding. I have worked hard at not placing
myself
in any way above those that are willing to participate in my undertakings
in such a way that the pleasure of generating art will hopefully manifest
itself in all participants equally. My performative work involves the
creation and exploration of abnormal, confining environments that may
be used as
a venue for the discussion and experimentation with my concerns in
art.
The gallery, however, is not a space to be abandoned. It is a useful
tool that, while not capable of reaching all audiences at present,
serves the
function of being a place for those who are artistically literate
to come and investigate new undertakings. It is in this setting that
I
take satisfaction
presenting aesthetically pleasing documentation of the multiple facets
of my work. Digital printing, video, found object, and written description
are all media that are used in my art that will be on display. This
documentation is a way to bridge the gap between self-selected, gallery-going
audience,
and those whom I select that are not normally gallery-going people.
Making work for the gallery setting is a way to refine, explore,
and make permanent
the otherwise nebulous and ephemeral concepts and activities I am
exploring, and then present them to an informed and critical audience.
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