"Hey Little Girl, Do You Want Some Candy?"

Revised [Artist Statement]

Over all, I am making a game that you can't win, showing the viewer the possibility of entertainment without access to the entertainment and playing with the appreciation of the vulnerable structure of the human body.

Starting from the actual and observed and adding non-existent fantastical elements; I combine them creating a non-archival experience with documented evidence. I like to break down my observations and put them in an order that makes sense to me. I am looking to discover the responses of others when I show them a playful spectacle of events and the artifacts and documentation of those events.

The way in which I approach my work often comes from humor and play with the tangible. I started with wanting my work to be indefinable by medium but have begun to realize that I really just want to combine many traditional mediums - turning a painting into a sculpture or photos, or blending photos and painting - into one piece; exploring my concepts in a variety of sensory experiences.

"Hey Little Girl, Do You Want Some Candy?"

Antwerp train station dance video and the sound of music crossdressing...

So, I saw this video while I was in Antwerp, everyone over there really likes it, I liked it too. My friend Lieke was the one who showed it to me. There are actually a lot of public art pieces that happen at the central station in Antwerp. While I was over there an artist built a small house and lived in the station for several weeks and you could go into his house and he would read with you. I went in his house and talked with him, but didn't really listen to much of his reading. So I liked this video...

The other video is a guy talking about the metaphor in the sound of music. The movie was about the reveralsal of roles in regards to the jewish influence and strengh on culture, politics, art, etc that the german nazi wanted. Focused on the von trapp family, although the play/movie is not at all historicially accurate to the actual von trapp family.

Do - Re - Mi

Claire Bishop Antagonism and Relational Aesthetics, in October (journal), Fall 2004

In regards to performance based and installation art… this article talks of:
- Relational art works seek to establish intersubjective encounters
- The viewers become an ideal society during the viewing period
- Space becomes conceptually functional
- Talks of viewers importance in relationship to the work, they act as additional materials
- The work can become a “backdrop” rather than just a pure content provider
- The work becomes about the relationship between it and the viewer rather than the art alone
- Structure of art work creates a social relationship
- Bourriaud argues, “encounters are more important than the individuals who compose them.”
This article was interesting in relationship to my own work. One of my reasons for making what I make is my curiosity in viewer response.

Marina Abramovic’s Red- Velvet Rope:

Politics arise in a retrospective of this nature…
This article on Vulture talks of Abramovic’s performance piece at the MOMA where visitors can sit across from the artist for any length of time and stare at her. The main topic is about how everyday visitor are not able to sit with the artist as and wait up to 8 hours in line for the opportunity. Difficulties have arose because MOMA staff and celebrities make up the majority of people who actually get a chance to participate with the piece.

Some written things..

“Dead Ant”

I just killed an ant

He was alive and doing

all that he was meant to do.

He was a productive member

of his society

Or so I understand.

He was here and in a moment

without hesitation

I squished him with my

Pencil

He was erased by my eraser.

I feel no remorse.

“Paradise City”

Her eyes twinkle like the sweet air on Derby day.

Her ambitious nature is like that 4^th place horse just almost hitting the mark.

Her skin smells like the tasty crackling chicken at your grandmother’s house after church on Sunday.

Her smile is like the first taste of a refreshing mint-julipe when all the beer has gone warm.

Her shoulder’s tan calls to you like the blue shade of dew-covered grass when the sun hits the horizon.

Her laughter is filled and slow like the bridges during rush hour.

Her hair falls like the distant skyline, holding tall but with its edges drawn out.

Her anger is like a forced cotillion, with a sour yes mam’ and no’mam.

Her touch is unlike the forgetful pup crawl down Bardstown rd.

She is your paradise city.