Dry Ass Dust 23.08.12 archival documents and graphite 1hr duration Nelimarkka museo
[photos by K. Popiel]
A museum is responsible for keeping and preserving its archive (arkisto). But what is worth keeping? When is it okay to delete an item from the archive? At my request the Nelimarkka museo has removed 3 paper documents from their collection, these I have destroyed by covering with graphite. I asked that these items then be retuned to their archive. Now, are they worth more or less?
Interactive: you are invited to Kippis (cheers) or Kirota (curse) your ancestors and they can cheers or curse you in return. In a respectful way I ask, what did my ancestors invite me to do? How have they challenged me? What have they asked me to create?
Genetic Material 2012, ancestor spirits, vodka spirits, arduino with LED shield (kippis/Kirota), sauna bucket, ice, shot glasses
A list of works as self-portrait and as representations of my self as an artist.
Significant projects, challenges, processes and times: Actions personal and political 2010-2102, Erasure 2009, Documentation 2005-2008 and Rememory 1990-2000. Broad sense, I am most interested in the past and make projects where the past and future collide. Memory and time are conductive threads in my work as are chance, forgetting and illusion. Books are source of solace for me and fuel my imagination and creative process.
Brushing and Burning horsehair brush, action, Actions personal and political 2010-2102 (place, cleansing, action, durational, performance). This approach to my practice is a collaborative effort with Open Actions performance collective.
“So now I have become a decorative drawing an organized surface in black and white and yet I heard myself breathe, is it really a drawing, its it really I.” Poems to Myself Pierre Albert-Birot
Hello? Is it me you’re looking for? text, spray paint, Actions personal and political 2010-2102 (place, public, private, personal, commercial, impulse). Unauthorized text messages collide with property-is it inviting, offending or is it a way to participate and personalize commercialized urban space.
Your Words My Mouth book, teeth, masticated text, Erasure 2009-2011 (erasure, cancellation, ingestion)
“I knew that it (Neuromancer) was to be published, if I could finish it and if the editor accepted the manuscript, both of which seemed constantly unlikely, as a paperback original-that most ephemeral of literary units, a pocket-sized slab of prose meant to fit a standard wire rack, printed on high-acid paper and visibly yearning to return to the crude pulp which it had been pressed.” Introduction to the 20th anniversary edition of Neuromancer William Gibson.
Graphite Covers 100 graphite objects and counting…found objects, graphite 2009-ongoing (erasure, cancellation, negative space, forgetting, cleansing, shadow); the initiation of matter in two stages cleansing and graying to produce a new matter.
“My Shadow forms a resonant shell” Skin and Bone Maxime Alexandre
Rusty Library book, tape, box, rust paint Erasure 2005-2009 (storage, retrieval, system, epistemology, decay, miniature). Box Studio cigar boxes, laundered paper, lens, dollhouse furniture, Erasure 2002-2009, 22 caliber bullets, pencil shavings, rope, light bulb (storage, retrieval, system, epistemology, decay, miniature)
“Every book she read became a riddle without a solution, a trail of clues that wound back upon itself, a labyrinth in which she caught tantalizing glimpses of other books, magical and terrifying, that she would never read.” The Gryphon Jorge Luis Borges
A list of works as self-portrait and as representations of my self as an artist.
A list of works as self-portrait and as representations of my self as an artist. Significant projects, challenges, processes and times: Actions personal and political 2010-2102, Erasure 2009, Documentation 2005-2008 and Rememory 1990-2000. Broad sense, I am most interested in the past and make projects where the past and future collide. Memory and time are conductive threads in my work as are chance, forgetting and illusion. Books are source of solace for me and fuel my imagination and creative process.
Strange to Meet You ink and photo dyes on paper, duration 52 weeks, 52 painitngs, Documentation 2005-2008 (documentation, diary, repetition) a visual diary of sensory experience and physical experience
Voguing ink and photo dyes on vogue covers and watercolor paper, Documentation 2005-2008 (documentation, diary, altered) Presentation and performance and the rupture between perception and object, personal and political
“How do I look? Where do I look? Who is looking?”
Cover Stories ink and photo dyes on paper, Documentation 2005-2008 (documentation, diary, copied, 2005-06) A devotion to nurse themed comics and paperbacks
Lesley watched, keen-eyed, while he screwed the fresh syringe onto the needle.
He touched his lips to the pulse throbbing in her throat.
Vonnie swallowed hard.
Meantime, Tubby stood in the doorway, smoking a cigarette.
“Honey, you do like being a nurse, don’t you?” he asked.
“I want you to pour ointment on me.”
Her nails bit into the palms of her trembling hands.
There was no postponing climaxes, and no avoiding them.
True he had barely touched her-yet her flesh tingled.
“Mom always gave her babies sugar for hiccups.”
For a while she simply put her head back.
Lesley’s eyes kept traveling to the instrument tray with its shining array of scalpels, retractors, scissors, catgut, sponges, needles and other necessary paraphernalia, when Dr. Carter held out this hand and said in a measured voice, “Scalpel, Nurse.”
“Of course I will, Stan. And listen, just for the record, I don’t hate you.”
She was dressed in a red butcher-linen dress, pearl beads and earrings, and wore a pearl bracelet on each arm.
She said, “There are three things in this world I like: men, painting and music, and in that order.”
Rememory installation, objects, abandoned houses, Rememory 1990-2000(rememory, place)
“Someday you be walking down the road and you hear something or see something going on. So clear. And you think it’s you thinking it up. A thought picture. But no. It’s when you bump into a rememory that belongs to somebody else. Where I was before I came here, that place is real. It’s never going away. Even if the whole farm-every tree and grass blade of it dies. The picture is still there and what’s more, if you go there-you who never was there-if you go there and stand in the place where it was, it will happen again; it will be there for you, waiting for you.” Beloved Toni Morrison, 1987
Affectionate Objects painting, paper, found objects, set of 5, Rememory 1990-2000 (rememory, place)
Artifact from a fictious past. Everything is alive and must be fed.
“This wallpaper has a kind of sub-pattern in a different shade, a particularly irritating one, for you can only see it in certain lights, and not clearly then. But in the places where it isn’t faded and where the sun is just so-I can see a strange, provoking, formless sort of figure, that seems to skulk about behind that silly conspicuous front design.” The Yellow Wallpaper Charlotte Perkins Gilman, 1892
brenda petays projects 