Artist Registry
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 registry@whitecolumns.org.
Videos
"You Have No Power Over Me"
2022Description: I initially meant for my bathtub spell to be a binding one for me. As a practitioner of magic, I felt that it was important to bind myself from doing harm as an ethical measure where I accepted the responsibility for binding others. I stayed in the tub of Jell-O until 4 am. The Jell-O and glycerin mix was incredibly slippery—it took activating all the muscles in my body to stay upright. The warm, thick liquid began to cool and harden, tugging at my pores and weighing down my limbs. I was exhausted, sore, and cold. I had pushed my body past a place of comfort, feeling bound by obligation. The feeling of being stuck, of being trapped, began to send my nervous system into a panic. For all the times I’ve frozen, left my body, and allowed things to happen that I did not want or consent to, I got up and out. I reclaimed my agency: I was free.The cast left of my body is imperfect. The warm Jell-O underneath me bubbled up like blood to the surface of the skin, freed from the weight of my body. The remnants are messy and flesh-like, a disrupted surface. But I see beauty in that messiness. To me it speaks to the process of my own healing; my incomplete imprint marks my autonomy. This action has given me some strange power, like a spell has been broken.
Added on: August 31, 2022
High Priestess
2021My hands were still swollen, but I pushed on the rings that I wore “that night” and elongated my fingers with sharp, press-on nails: claws. My heart felt shattered, my brain muddled, my filming chaotic. My small frame balanced a giant headpiece, and as I wobbled back and forth to reset the camera, my cats watched bemused. I accidently set my headpiece on fire (while I was wearing it) at one point. There was a hilarity, an absurdity to such a clunky performance of a somber ritual. I thought maybe this could be a study or practice for the “real film” that I would make when I was better. But it was too authentic. And spirits came in, nonetheless. I could never replicate the feeling of that night. This film initiates a body of work where I embraced my own imperfectness and marked my first steps to integration. The original intention for the film was to explore how it feels, to perform a ritual, to host a spirit in the body. It was easy for me at that time, I was so distant. My body felt empty and eager to host. In many ways, the work since has been about finding a way to re-inhabit my body comfortably.
Added on: August 31, 2022
"Kitchen Sorcery" Performance cut, full time 7 min
2021This is a cut from a performance piece, Kitchen Sorcery, which takes the form of a cooking show segment. I make a Bombe Glacee, which I light on fire as a clearing spell. I made this spell with ice cream, because it is important to take care of your nervous system when energy clearing, and ice cream is the ultimate comfort food. I concocted custom recipes with flavors and herbs for protection and healing, which will grow in the garden. The audience was invited to close their eyes to imagine what they wanted to clear and when the fire went out, it was released. Afterwards I served the ice cream cake for the intaking of new intentions.
Added on: August 31, 2022