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My practice involves questioning value and what I as an artist can provide. Coming from personal experience and travels, my videos, drawings and installations employ psychology to question reality by confronting the audience about value and experience through humor. I am interested how the humor I use within my practice is read across cultures and how the absurd translates differently within one culture and across many.
Andrea Fraser’s says in her essay How to Provide an Artistic Service
We are always already serving. Studio practices conceals this condition by separating production from the interest it meets and the demands it responds to at its point of material or symbolic consumption. Because a service can be defined, in economic terms, as a value that is consumed at the same time it is produced, the service element of project based practice eliminates such separation
My work aims to generate many answers to the question Who and how does one put a value on video works and performance? Bourdieu talks of distinction, taste and demand of an artwork as subject to perpetual displacement following the course of particular struggles within the field. My practice raises questions of social contracts between people to push the boundaries of human conduct such as Erwin Wurm's photographs, a perfect moment contained in lush color.
I am interested in bridging communities of entertainment and art through humor because humor gets into the subconscious of the viewer. Freud discusses the psychology of humor in Jokes and their Relation to the Unconscious, saying a joke is an unconscious moment allowed to bubble up without restraint acting in the sense of enjoyment and freedom. Freud believes wit spans the gulf between different ideas and the pleasure of a joke is a kind of economy. Transgressional works deal with psychological dislocation and abjection helps to explore the psychological as an event where audiences are confronted with their own repressed desires through a visceral experience. I look to Erwin Wurm, Gelitin, Daria Martin and Mathew Barney’s Cremaster series because of their viscerality, which allow viewers to watch, delve and be absorbed into the image and installation.
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