Artist Statement

 

Art practices in which artists use gender and sexuality signifying materials are the norm and dominate art spaces and trends. These normative practices and media are routinely performed by artists young and old to signify their ideology as well as gender and sexuality.

 I am using a transdisciplinary art practice based on personal experience that rejects normative media and practices, and instead reimagines material identity through various performances of nonnormative assemblages and material networks[1]. I select objects, imagery, and performances which are historically tied to personal experiences, aesthetics, and spaces where I have navigated across norms and normatively defined gender boundaries. In this way I am reimagining and queering masculinity and gendered materials in order to expand the conceptualization of gender fluidity and material signification. These objects function as constructed bodies which articulate nonnormative masculine materials and experiences, and form queer networks of material integration and dialectics. My objects and installations reflect a dynamic state of gender and sexuality, rooted in my own experiences of confusion, trauma, and personal alienation with gender and its toxic structures. By using technology, disparate media, and skills, the material properties communicate with and against each other through signification, assembly, and material agency, to create nonnormative networks charged with gender performativity and identity. I use a range of media, objects, and content which obstructs a linear or normative reading of my art and invites controversy and confusion in order to intentionally broaden the discourse regarding assumptions of maleness and gender performance.

 This methodology of rejecting normalization, fosters radically creative opportunities to play and to build out a narrative history of experiences, objects, images, and texts that reflect a complex identity, fluid across traditional gender conceptualizations. These nonnormative assemblages have a multiplicity of entry-points and references for a nonlinear reading and multidisciplinary legibility, creating a sort of material network or network of objects. These networked assemblages exist with a plurality of meaning and acknowledge masculinity in an attempt to both disrupt and expand the discourse, ultimately allowing for all people to speak openly about the structural violence of toxic masculinity and art history’s material inertia.

[1] Any combination of materials, including hardware, software, fibers, found objects, etc., arranged and/or assembled to construct new bodies, laced with previously signified memories and agency, including salvaged Carhartts, scrap steel, found objects, or performance videos. I am using the term materials within the common linguistic legacy, and not the philosophical term of materialism.

 

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