The White Columns Curated Artist Registry
is an online platform for emerging and under-recognized artists to share images and information about their respective practices. The Registry seeks to create a context for artists who have yet to benefit from wider critical, curatorial or commercial support. To be eligible, artists cannot be affiliated with a commercial gallery in New York City.
To apply to the Registry, click here. Join our mailing list here to receive our open call announcement and other programming updates. For any further questions about the Registry, please contact us at email@example.com.
STATEMENT OF WORK
My art practice, of an interdisciplinary nature, occurs at the intersection of anarchist thought, environmental politics and metaphysics and investigates the relationship between materials and abstract narratives and how those vacuums and abstractions reflect on concrete politics and the dynamics of power. An ecosophist approach that speculates on the ways in which these "material findings" incorporate values and social systems of the past and the future. By recreating situations and materials that have disappeared or have been transformed, connections are made between the devastation processes of material objects and the destruction of cultural capital, making simultaneous reference to old and digital methods of learning about the world. I work in an interdisciplinary way, individually and collectively, using a choreographic method that orchestrates elements of movement, performance, sculpture, text and video, that engages ideas of nature, and the body as a political and social entity questioning its relationship to ecologies of capital. Concept-generated and research based is concerned with the ecological, social and political dimensions of everyday spaces, the strategies to conceptualize resistance, the poetics of ideologies, and the relationship between temporalities and subjectivities. Having as a point of departure art production processes, working with existing places and materials, exhibition spaces become art studios or laboratories, where an experimental, itinerant, site specific performed work unfolds, generating improvised actions and choreographed movements. The normalized dialectic of space is refused and instead the artwork reestablishes its discourse according to the conditions of chance and contingency. The resulting works are both conceptual and poetic, in the sense they are linked to cognitive labor; a labor that cannot be valued and has no limits as it is the condition of precarious work in today’s neoliberal economy generated amidst ecosophical moments of fracture and repositioning, in an attempt to entertain fissures in a world of crystallized sensibility.