Moderna Blondin

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Photo by Liz Layton

Two weeks later, I am ready to sit down and share a bit about me and Liz Layton‘s exhibition Moderna Blondin, especially the reception, during which time the performance took place.

I did not expect that peculiar, miraculous thing that happens sometimes with painting, drawing or sculpture, where you surprise yourself and “what this is about” expands exponentially right before your eyes. This may be because I have no experience with theatre, and on account of there being lines and such, assume that there is little room for surprise. We had a loose script, we rehearsed, and everyone involved was capable and committed.

Perhaps I am giving too much away here, but I believe that what made the performance was actually what I didn’t plan and couldn’t expect. I did not, for example, plan for a drum circle to be in the gallery prior to the performance, right next to the installation. I did not expect people to not realize I was a real person underneath the dark purple fabric. And I definitely didn’t plan to mimic my episodes, periods of time when I am disoriented, dizzy, etc.

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That’s what makes it exciting for me, all the things I did not expect. I am grateful for the interaction that I had with the audience, even in moments of discomfort. When people debated what my gender was under the fabric, when someone dared another to “punch it in the face”, when a child asked someone, “Do you want to see the person?”, or when people became alarmed at realizing I was sitting there, able to hear their conversations — all of it was really fascinating.  Even the drum circle, which I was admittedly not thrilled about, played an important role.

And thankfully, I’m not the only one who felt that fascination and impact. Really. Thank you.

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Photo by Mira Gerard

Speaking of, I’d like to thank our performers — Katharine Hache, Jennifer Culp, and Myranda Kreyenbuhl-Porterfield. Each one performed perfectly, despite not being paid (though a “thank you” brunch is in order), and they really brought themselves to their roles whole-heartedly. I appreciate that a great deal.

I’d also like to thank Liz for working with me because without her work and her presence, I’m not sure I would have thought of doing this on my own. She an illuminator, both literally and figuratively.

More pictures are available at my Flickr account, as usual. Also, Liz has prints from the show’s work in her Etsy shop. (Kate Bush!) I’m planning to put together a zine with images of the work in the show, artist statements, short essay(s), and hopefully an interview. So, that’s on the way.

The exhibition — including our paintings and the installation — will be up in Nelson Fine Art Center until the end of March.

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Author: sp.ps

I make things.

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