ARTIST STATEMENT: I consider myself a performance artist, though I only occasionally perform in front of an audience… most actions are viewed primarily through documentation. My process focuses on experimentation and play. I am always trying to question my own definition of performance.
(Is mark making ever NOT performative?)
I tend to develop long-term projects that may, at first glance, appear disconnected. However, in each, I am working through issues and questions that have fed my work for years. Through private performances, public interventions, and developed personas, I address a range of subjects, from the experience of alienation, to the seduction of power. Projects include: Diane The American Swimmer (a persona project exploring nationalism and hegemony), Diane’s Circus/cloyingPARLOR (a persona and event series in my home exploring, in part, the negotiation of public and private space), IPhone Surveillance series (surreptitiously obtained images and sounds), and I’ll Fix You (manipulated educational material).
Performance permeates our understandings of interaction, identity, and presence in our media saturated world. I am curious about how our use of technology continues to change the way we situate identity and presence- both virtual and material. If identity, presence and place have become more mutable, does that make us more autonomous, or less?
For the past year I have been working on an interactive performance project titled ART FOR RICH PEOPLE TO STAND ON. The project is literally that… my paintings on the floor (made as traditional floor clothes, like those found in colonial era historic sites in New England). A sign is placed by the floor piece that states, ART FOR RICH PEOPLE TO STAND ON… Who stands on it? Who feels like they are entitled to? It is a performance acted out by the viewers of the piece, whether they participate or not.
Like most of my work, this project raises many other questions, including…
How are we, as makers, supposed to negotiate the need for patronage in this disturbing and distorted economy? Can labor-intensive design, craft, and art only be made with significant financial support? Is this work only for those who can afford it? I could also write extensively on the process of making the paintings… about the relationship between abstraction and design, of craft and art…
I think a lot about presence and place, performance and its residue.
Diane The American Swimmer says, "Don't Worry, America!" 2014 performance documentation, unlimited edition 18 x 24
DON'T WORRY, AMERICA! Official DIANE THE AMERICAN SWIMMER 2012 Commemorative JPEG
performance, convention intervention, 2012<BR>
collaboration with Dbilly, Nathan Manuel, Meg E Browning
Diane The American Swimmer, Salton Sea Swim 2012 video still She can do ANYTHING, cause she's American.
Art for Rich People to Stand On 2015 performance, traditional floor cloth 44 inches x 56 inches
Study, Art for Rich People to Stand On acrylic on cardboard 8 inches x 10 inches
Corralling a Hundred Beasts in the Air 2013 performance
Squad 2013 performance Collaboration with Macy Rodman and Matthew de Leon
Football presents the eroticizing of the male body in battle; and, for the general public, cheerleaders are a safe substitute for, or masking of, th
TANKS SIGHTED 2014 video still video and collaged audio from local Pennsylvania fairs, IPhone Surveillance series
I'm With You (iPhone Surveillance Series) 2010 to present covert subway photography, ongoing series,
While riding the subway, I surreptitiously photograph myself with strangers, documenting a relationship that does and does not exist.