sagebrush, wild sweet peas, acacia, dirt, earth pigments, maple branches, polyurethane, cotton twine
During the six week residency, I revisited sites from my life where my body experienced extremes. I bound small handfuls of sagebrush at sites of trauma and wild sweet peas at sites of pleasure. At each site I noted the geographic coordinates. The bundles were were hung on walls, labeled with their corresponding coordinates, mapping impactful physical sensations and time in a nonlinear way.
Movement was explored both within the gallery and without. I danced in the gallery, under the night sky, in my home, and at sites of trauma/ pleasure. Towards the end of the residency teamed up with a collective of women to further explore these movements in Sibley park over the course of the summer.
Pigments were created out of earth gathered during the residency from sites where my body experiences comfort. Paint and dyes were made from the pigments and used to dye the cotton chords, paint the body sculpture, and the raw earth was used to create delicate floor patterns.
I continued to develop the sculpture over the course of the residency. The woman-turning coyote (work in progress) was made throughout 2016. The form was made by casting my body while holding the position I discovered through dance that triggered a body memory that induced a wave of flashbacks of sexual assault. The sculpture itself is made from polyurethane - the material used to make taxidermy forms. Incisions were made into the sculpture, so it now holds various meaningful medicinal plants under its skin. An array of intentional herbs, earths, and meaningful ingredients were mixed in when casting the pussy portion of the sculpture. A coyote spine is exposed in the sculptures neck and a plastic coyote jaw in set into the face. The body positioning of the sculpture was also informed by a personal experience of following coyotes, both literally and figuratively. Resiliant animals.
At the closing of the residency, all these explorations came together for a night if interactive performance with the gallery visitors. Visitors were guided into a more embodied state for their experience of walking through the installation. I wore a sign around my neck explaining that I would not be speaking. I offered a note and eye contact to each person entering the space. Visitors that seemed particularly engaged were adorned with bundles of wild sweet peas that I made over the course of the evening.