Detail of interactivity
Detail of interactivity - scent and sound vessels come on and off the walls via magnets
Detail of interactivity
Detail of light play
Detail of light play
Detail of light play
Detail of scent vessels
Detail of tactile ground structure made of wood and glass, containing dirt, mulch, moss + gravel
Detail of refracted light through glass vessels
Detail of scent vessel within shaggy texture, can be taken off the wall and held
Detail of socks for viewer to use and reflection book
Detail of lights refracting glass, which can be moved around
Detail of scent vessels with lights changing based on motion
Detail of scent vessels with lights changing based on motion
Detail of lights changing based on motion
Detail of scent vessels with lights changing based on motion
Detail of scent vessels with lights changing based on motion
Detail of lights refracting through glass and changing based on motion
Detail of scent vessels with lights changing based on motion
Detail of scent vessels with lights changing based on motion
Detail of scent vessels with lights changing based on motion
Detail of scent vessels with lights changing based on motion
Detail of scent vessels with lights changing based on motion
Detail of scent vessels with lights changing based on motion
ARTWORK STATEMENT
This work calls on the viewers to engage and become a part of the environment which transforms into a living entity that is susceptible to change and growth. I’ve been interested in vibrational frequencies and how everything has motion even if it can’t be seen by our eyes, as well as how we’re all connected to water one way or the other which has always been a grounding element for me. I’ve been exploring the way it translates and refracts light and sound as well as my relationship to my body and the world around me. This work is a fluid space for all people, but especially trans and queer people, to be able to explore our senses and limitlessness through our bodies as so many spaces aren’t intended for that type of intimacy and exploration. Other key concepts I’ve brought into this work are analog+digital relationships, sensory elements (such as olfactory, tactile, temperature, audio, visual, etc.), questioning binaries+polarization, memory, performance, collaboration, improvisation, intuition and chance.
GLOAM engages the viewer via a threshold made of wood and plexiglass that leads them through the space, treading over various textures: mulch, dirt and rocks. One is led to a corner with gravel allowing them to gain height and access one of the various scent sculptures, that are made of wire and plaster, containing scents embedded onto felt. Some of the smaller plaster sculptures can be taken off the wall and put back or switched places with one another through the magnets that hold them. These sculptures are surrounded by purple and white faux fur to cocoon and connect one another and add more layers of texture. The fluffy textures are also surrounding many of the lights in the space which are facing a group of glass vessels that refract the light onto the walls and can be moved if the viewer desires. One’s motion in the space can trigger some of the lights to go on and off, cause a 360° rotating platform with a glass vase surrounding a light to turn from clockwise to counterclockwise, and will change the soundscape depending on the amount of motion present. I look forward to seeing the unexpected and various moments that will occur for those experiencing GLOAM as they become part of it since the only consistent part of the work is change.
