How to Disrupt a Poncy (fancy) Art Opening
Distrubeted zines at Sxrvxve: Designed Howlings at the Ugly Duck in London. Giving instructions on how to cause some good trouble.
How to Disrupt a Poncy (fancy) Art Opening
Tips for Guerrilla-style disruption of your neighborhood-gentrifying gallery. Originally, This zine was distributed at a performance including shining shoes, performing verbal hustles and three card monte routine while also handing out anti-gentrification zines on how to disrupt a poncy art opening.
The Humble Hustle
This performance ended up including shining shoes, performing verbal hustles and three card monte routine while also handing out anti-gentrification zines on how to disrupt a poncy art opening.
An Offer
An Idea exchange within my studio
Between the first and second year of the MFA program at GSA, each student puts in a proposal for their studio the next year. In mine, I listed needing a space “cozy enough to welcome individuals to practice hospitality.” Here I can play a super host and extend a special invitation. The space here is different than the typical museum or gallery and we are outside the typical practiced rules and behaviors in those spaces. Here we get to define how we behave. Here I invite you to share ideas. Here, outside these structures, you and I can exchange and collaborate, and more importantly play.
An Offer
An Idea exchange within my studio
Between the first and second year of the MFA program at GSA, each student puts in a proposal for their studio the next year. In mine, I listed needing a space “cozy enough to welcome individuals to practice hospitality.” Here I can play a super host and extend a special invitation. The space here is different than the typical museum or gallery and we are outside the typical practiced rules and behaviors in those spaces. Here we get to define how we behave. Here I was invite you to share ideas. Here, outside these structures, you and I can exchange and collaborate, and more importantly play.
Soul Food
My submission for an Artists’ Cookbook, created and edited by Rudy Kanhye, explored the cultural contexts and rituals around cooking and eating. Whether dining alone, with friends, or in the vicinity of strangers, the act of eating represents a marker of performed identities. In my social engagement work, I like to focus on immaterial qualities; for example, I believe the taste of soul food is different than southern cooking because you think about the ones you love when you cook. Consequently, a bit of your soul goes into the dish and enhances the flavor.
Soul Food
My submission for an Artists’ Cookbook, created and edited by Rudy Kanhye, explored the cultural contexts and rituals around cooking and eating. Whether dining alone, with friends, or in the vicinity of strangers, the act of eating represents a marker of performed identities. In my social engagement work, I like to focus on immaterial qualities; for example, I believe the taste of soul food is different than southern cooking because you think about the ones you love when you cook. Consequently, a bit of your soul goes into the dish and enhances the flavor.
(A)Long Walk Hospitalfield to Hospitalfield 5 miles
Digital audio created from local field recordings was listened to via my personal iphone, and passed from individual to individual during the exhibition at Hospitalfields.
Duration: 10:00 mins
Sturmgewehr
8.5×11 sheets of paper, Scotch® Magic™ Tape, youtube tutorials from kids 8-10 years of age
How curious! how real!
Neon, and envelopes of wildflower seed for bumblebee habitat. An interactive installation that plays with the idea of sites and non-sites. The work is titled “How curious! how real!” and includes envelopes of wildflower seeds that visitors were invited to take so they could plant the seeds. I am interested in exploring these ideas further and helping create sustainable communities.
How curious! how real!
Neon, and envelopes of wildflower seed for bumblebee habitat. An interactive installation that plays with the idea of sites and non-sites. The work is titled “How curious! how real!” and includes envelopes of wildflower seeds that visitors were invited to take so they could plant the seeds. I am interested in exploring these ideas further and helping create sustainable communities.
Stands Scotland where it stood
A collection of footage from around Scotland showing members of the public ringing the bells which comprise the work “blue, blue” before final installation. The video was one of the files on the drive Stands Scotland Where It Stood, and was part of the digital space of that physical exhibition.
Stands Scotland where it stood
A 16 GB USB shared on deaddrops.com 1 file included 12 GB available for others to share. This is part of a work of Aram Bartholl who began placing Dead Drop USBs as a way to offline file share in New York City in 2010. This continues providing that platform here in Scotland as well as allowing others in the group show, or the public, to share other work, supplement their current show, or just be part of a time capsule. The first file on the drive was mine to kickoff this digital space that provides another room for exhibition.
blue, blue
A collection of handmade and manufactured 20th-century bells and vibration motors installed on the ground floor of the Glue Factory in Glasgow. Each bell vibrated silently at a low ultrasonic speed that could only be perceived if touched. Bells would gently sway during the installation.
.Replace “program” with “art” .Replace “users” with “viewers”
Fifteen internet memes created with a meme generator projected from the CCA onto Sauchiehall Street, made as a result of a collaboration with curator Rudy Kanhye, responding to Caroline Woolard’s application of Open Source models to art production and her invitation to develop new models that sit outside traditional “gallery” structures, and more closely reflect the conditions of freedom in the use and re-use of art.
Hope Street
A series of social engagement projects kicked off as part of an exhibit in which a service was offered, and in exchange of fulfilling the contract, I was to be given a drink of my choice at a Hope Street venue of my choice.
The services offered – my tasks – varied widely and included taking guitar lessons, playing pool, drawing portraits, a choice between listening to completion a growing Spotify playlist or having a conversation about race, and having to prove reality was real. Coming up with the one question a curator should ask before working with a social engagement artist, going on a date with a woman’s male persona to see if he was gay, and listening to someone talk about their feelings, were some of the more creative exchanges.
There…
During December 5, 2016 – December 16, 2016 I had an open piece where I determined the structure but the public created the content (much like Hope Street.) I invited the public to join me in an interior with a west facing window from sunset to nautical twilight during the two weeks before the winter solstice. During that time, as the room and city grew dark, the visitor/audience and I experienced the transition together; they directed and experienced their own temporal moment.
Same as it ever was
Aroma and ultrasonic diffuser
Also working with the borders of perception is Same As It Ever Was, a work encompassing a series of aromas and ultrasonic diffusers. Early on I established a vocabulary of what I wanted to explore within the Glue Factory, looking to the aroma to convey something of the outside landscape. Since this exhibition was a group show, several other artists expressed interest in having aromas compliment their work. So, I worked with five of my cohorts to construct a supplementary experience. When there was wafting and drift of aroma, unexpected associations were created which I think is interesting; the power of smell and memory can construct new memories and recall old ones in the minds of both the artist and the viewer.
.Replace “program” with “art” .Replace “users” with “viewers”
Fifteen internet memes created with a meme generator projected from the CCA onto Sauchiehall Street, made as a result of a collaboration with curator Rudy Kanhye, responding to Caroline Woolard’s application of Open Source models to art production and her invitation to develop new models that sit outside traditional “gallery” structures, and more closely reflect the conditions of freedom in the use and re-use of art.
.Replace “program” with “art” .Replace “users” with “viewers”
Fifteen internet memes created with a meme generator projected from the CCA onto Sauchiehall Street, made as a result of a collaboration with curator Rudy Kanhye, responding to Caroline Woolard’s application of Open Source models to art production and her invitation to develop new models that sit outside traditional “gallery” structures, and more closely reflect the conditions of freedom in the use and re-use of art.