Collected Artifacts From Everyone I Have Ever Slept With 2016
When I chose sexual partners based on their desire to cooperate with "Everyone I Have Ever Slept With". These actions and choices became part of the process itself. These gilded shelves hold everyday commercially produced objects (used/pieces of) collected from each of the participants in my sexual history. I wanted to obtain objects that held no personal or cultural significance so when they were grouped together, put on display as art objects, and given a platform on a golden pedestal, their importance was elevated in my possession and as a whole. The piece was no longer about the individuals, their representative objects or social taboos that the series started with, but to serve as the physical manifestation of personal allegory. Joining the paintings that became a study of adult my life. The collected objects are representative of the forms of sexual exchange among partners that vary on levels of intimacy, and how this series altered the universal barter between participants.
Participation Agreements 2016-Current
“Participation Agreements” is a display of performance evidence acquired over the past year while work on “Everyone I Have Ever Slept With”. Throughout the series, I realized that my sex life and the work I did in the studio were inseparable. My sex life revolved around the paintings to the point where I could not afford to sleep with someone unable to participate in the series. The documents work as a reverse non disclosure agreement. Participants notified of the project before intercourse, then given the option if they wish to participate in the series, which was indistinguishable from the act itself. They are in no way binding by law, or by my personal standards due to my lack of interest in breaching someone's comfort level. The contracts are symbolic of the different forms of exchange that we encounter though sexual intercourse. The universal exchange was altered on my end through the work on the series and therefore altered on the end of anyone I engaged in sexual activity with.
Five days after the death of Fidel Castro and three weeks after the election of Donald Trump, I traveled to Cuba to install a “Podium”. A podium is an object that takes a larger authority and transfers it to an individual. It is an object that elevates the individual, and organizes an audience while simultaneously hiding half the body of whomever is behind it. The podium as an object is universal. The podium as a function depends on the foundation that keeps it standing, the circumstance it exploits, and those who validate its claim to power. Foundations of power are never permanent as humans are not. Castro, as an icon of infinite rule, was not permanent. I wanted the foundation of the podium to be something that was provisional but as it disappeared, its mark began to stain the sheets, as do the remnants of said structures. The piece itself is actually video that records the ice melting over several hours while the live audio of Castro’s funeral procession plays in the background.