Saturday, July 21, 2012
Friday, July 13, 2012
I am stuck between feminism and femininity. My art practice examines this purgatorial state, and visually poses questions about what it means to become a woman. My work is a coming of age narrative, almost diaristic, and yet uses imagery or text that is universal in an uncanny way.
Your work often evokes overwhelming emotions of loss, longing, unrequited love and the construction of female identity. Although your practice is not driven by food, representations of food products appear in several bodies of your work. How do you see these pieces functioning within your larger project?
Food is deeply connected to the construction of gender. (In a sarcastic tone) Women are supposed to be where? Yes, the kitchen… making pie. We are taught to connect to men of our desires through their stomachs.
Your work reveals a hyperawareness of text. Can you discuss your use of text?
For instance, if we look at the pieces “Dove Me in the Morning” and “Dove Me All Over,” we will at first realize that dove is replacing love within the expressions. However, dove can be a bird, a chocolate company or even a soap brand. The word is fertile. These pieces are connected though the director Hitchcock, also a fan of double entendre. The blood in his film “Psycho,” represented in my work “Dove Me All Over” by Janet Leigh in the famous shower scene, was made of chocolate syrup. The vortex of melted chocolate takes on the appearance of a drain, much like the actual scene in the Hitchcock film.
Your last name happens to reference both a phallus and a culinary delight beloved by many. How has this name suited you through life?
What is the most visually inspiring ingredient in your kitchen?
Thursday, July 12, 2012
Sunday, July 8, 2012
At first glance, Ed Heckerman’s new work Glocal, Enso Rice Photograms, appears quite simple. Upon closer inspection the work reveals its multilayered complexity. Heckerman produced a series of exquisite selenium toned silver gelatin photogram prints through the repeated gesture of laying rice in an enso form (or zen circle) on light sensitive photographic paper. While making the photograms, he recited a Buddhist mantra intended to dispel negativity.
The rice used in Glocal was gifted to the artist from numerous sources affected by the 2011Japanese earthquake, tsunami and nuclear plant disaster. Heckerman simultaneously achieves the production of art through spiritual practice, as well as collaboration, allowing for resurgence and an address of ethical problems within photography. Heckerman writes, “The new 'offerings' are a prayer for Japan. This series is called Glocal, a reference to 'glocalization,' a relatively new word referring to individuals and communities that ‘think globally and act locally'."
Within each project the artist arranges symbolic materials on light sensitive paper to produce a photogram or camera less image in the wet darkroom. These works are cohesive through Heckerman’s insistence on giving a picture as opposed to taking a picture. It is within this act that Heckerman addresses photographic ethics. By making and offering an image to his viewers, Heckerman avoids the sometimes exploitative and voyeuristic nature of photography. The persistence of these projects over a decade’s time is admirable; the artist successfully broadens the conversation with each new body of work.
Murakami and thirteen of her friends each sent Heckerman a bag of Japanese rice. Heckerman honors the collaborative effort of these individuals through the titling of the images. Each work’s title is composed of a list of three components:
Selected works from Glocal: