Site Specific/To Have and To Hold

What Was Left Behind/Cake Knife (2.0)

https://www.youtube.com/watch?v=8EwaIf83KJs

Artist Statement
In this performance I wanted to communicate my experience with domestic violence. I tried to go in a different direction with this and base the performance around cooking. I chose baking because its especially seen as something that women are responsible for. In the first performance I chose ingredients of cake to reference women being objectified and the slang terms used to describe women (cake, pound cake) and so I carried that over to this one and baked strawberry cupcakes from scratch with a recipe from a book.
The eggshells on the ground were to literally translate the saying "walking on eggshells". Its a feeling that is often used to describe what its like to be in a toxic or abusive relationship.
The knives suspended from the ceiling were used to represent the casual, household nature of domestic violence. There especially important to me because of my personal experience with them.
The house dress or night gown I wore was my great grandmothers. I chose it because of its old fashioned and modest nature. I know in  my experience I was restricted from wearing certain clothing, especially short dresses, low cut tops or even heels. I believe that mindset is incredibly out-dated but it is still a present day issue that many people believe is typical behavior in relationships. I remember asking friends and relatives about it and it was often dismissed or made out to be a "pick your battles" type of situation.
The music I chose was Food and Creative Love by Rusted Root. The lyrics were relevant to this topic because they are about violence, food, and love.
All of these elements were used to create the feeling of trying to complete a simple task, for example baking cupcakes while being hindered by a frumpy nightgown, bare feet on eggshells, and kitchen knives haunting you. I felt when I was in a violent relationship trying to complete simple tasks like homework, cooking a meal, going to work, or often sleeping, were incredibly difficult. The reason I cleaned everything up (but didn't show the cleaning up or film it) and took the cupcakes out of the oven when they were already frosted and decorated is because the situation is so embarrassing and humiliating that I felt the need to cover it up, disguise it, clean it up, and carry on with my responsibilities silently.

What Was Left Behind/Cake Knife Performance

https://www.youtube.com/watch?v=pSP3yVMVSvU

Artist Statement
When making this video I was keeping domestic violence in mind. The house hold kitchen knives were to signify the casual, every day nature of domestic violence and how it occurs inside households. The powder/substance in the video is flour and powdered sugar to reference the objectification of women and the slang terms women are described as (cake,pound cake). The placement of the knives around the small children's pool were used to represent being trapped.
The song I chose is Poison Oak by Bright Eyes. The song itself is about a family members addiction which resonates with me firstly because two of my siblings have struggled with addiction but certain lyrics stood out to me that I felt connected to this project. The song also has a melancholy feeling which I though suited the performance.

What Was Left Behind/The Genie-Artist Statement/Research

Research

1 http://www.giantglacier.com/the-origin-of-the-genie-in-the-lamp/

Genies, or jinn as the Arabic word is Romanized, come from a long line of mythological creatures dating back to 2400 BC. According to the Qur’an, God created jinn out of the “fire of a scorching wind”. It wasn’t until later that humans were made from mud and clay. Clearly the jinn got the better end of that deal. No source states how much time passed between the birth of the jinn and the birth of humans. They had plenty of time to form their own societies, found their own religions and write their own laws, so it’s a safe bet to say “quite a lot of years”.

Jinn are much more than demons or spirits. They’re intelligent, free-willed creatures who live close to nature and are endowed with magical powers. Very much like humans, only more supernatural. Some of them are good, some are evil, and still more are somewhere in-between. We can pretty much count on them being tricksters in one form or another, so as a general rule, don’t go out hoping to meet a jinn.

Although they can change their appearance at will, jinn do seem to follow some patterns in their choice of physical manifestations. One source states they always have thick fur on their legs, no matter the form they take. Conclusion: Mata Hari was not a jinni. or example, The Story of the City of Brass follows a group of travelers searching the Sahara to find a lost city. Of brass. Their side-quest is to locate a vessel that supposedly held a jinni imprisoned by King Solomon. The life of Solomon and his God-given jinn-controlling ring is a fascinating topic on its own, but this seems to be the legend that first started shoving genies into small containers.

2 http://spiritlodge.yuku.com/topic/1022/Almond-Tree#.Vx6c_VYrLIU

The almond is actually a relative of the peach and its blossoms are pink or white. Instead of becoming plump like peaches though, they harden. All nut producing trees are associated with fertility and the hidden fruits of life. And they are harvested in the fall, reminding us that there is a time and rhythm at play within our life that cannot be rushed. You cannot force a fruit or nut to ripen any faster than is normal for it. If we remember that there is this rhythm, we save ourselves a lot of impatient frustration.

In Victorian times, the almond was held as a symbol of indiscretion and youthful impetuousness. In modern times, the American Seer and Sleeping Prophet, Edgar Cayce, advocated eating a few almonds each day to prevent cancer.
Almond was the tree which Aaron, high priest of the Hebrew people, selected as the source for his magical wand. This heritage keeps Almond within contemporary Hebrew rites, the blossoms used to decorate the temples.

3 Jon Krakauer, Into the Wild

“So many people live within unhappy circumstances and yet will not take the initiative to change their situation because they are conditioned to a life of security, conformity, and conservatism, all of which may appear to give one peace of mind, but in reality nothing is more dangerous to the adventurous spirit within a man than a secure future. The very basic core of a man’s living spirit is his passion for adventure. The joy of life comes from our encounters with new experiences, and hence there is no greater joy than to have an endlessly changing horizon, for each day to have a new and different sun.”

Artist Statement

This installation was inspired by a Genie. Genies are a mythological spirit or creature with a story and definition that has evolved over space and time. I first became familiar with it through the popular Disney movie, Aladdin which is the watered-down, american spin off. I do think the main themes about genies stuck with me, which I interpreted as being trapped/escape, riches mean nothing without freedom/happiness, and our dreams/wishes aren't always what we expect them to be and can backfire. 

I used a chaotic heightened color pallet to create a feeling of at first whimsy, but then a feeling that was visually overpowering or almost nauseous. Like the feeling of cotton candy, a ball pit, or neon clothing. It seems like a good idea but is honestly more likely to give you a head ache or make your stomach hurt.

I used the same effect when making the platters of food and tea. I made them colorful, sparkly, and intense to the extent of making it unappetizing. I used almond paste because of its spirituality. I used a clear glass tea kettle to not only show the gnarly mixture within but to reference fragility.

The pillows were to signify comfort and the wire wrapping and precarious stacking to signify entrapment. Comfort breeds complacency. Comfort inhibits growth.
The bronze/gold section of the wall with the scratching in it was to signify the passage of time. 

I also used a diffuser with clove oil for a fragrant element. On the site http://www.spiritual-path.com/aromatherapy.htm clove oil is described as "used to revitalise and stimulate mental and physical energy, invoke courage, inner strength, protection, healing..". I felt these uses were connected with the struggles of my genie. 

I made the genie shoes my size so I could wear them and wore intense metallic colors when I was in the space. I sat in the space for some time an interacted with the objects there, the book, the crystal ball, the tea pot, the hookah(I didn't smoke any because of school policies of course).

What was Left Behind/The Genie

The Space

Interacting in the Space

Senses Installation/ Moss Goddess-Research and Artist Statement

Research 
1 
"The earth itself was a goddess, curvy and ripe, radiant with fertility, aspill with riches."
-This quote is from the chapter titled Taste in the book, Natural History of the Senses by Diane Ackerman. 

2
http://www.ancient-wisdom.com/earthmother.htm

Archaeological evidence from around the prehistoric world suggests that the Earth may have once been viewed/worshipped as a living, female being. Ancient texts and mythologies support the idea that the primary goddess was intimately associated to the earth, fertility and agriculture, as epitomised by Cybele, the Phrygian Earth mother, who represented the fertile earth and was the Goddess of caverns, mountains and all nature. The Greek Cybil's later became the female oracles inspired to divination by the Gods.

The worship of the Earth-mother was a common belief before the more recent development of the patriarchal society (c. 3,000 BC), coinciding with a shift in focus from Lunar to Solar worship across Neolithic Europe. Traces of a matriarchal society can be seen reaching back into the Palaeolithic period through the numerous Venus figures discovered in Europe. The early mother-earth belief system also had close connections to the beliefs in the afterlife, as seen in the use of red-ochre in funerary rights.

3 http://natural-fertility-info.com/nuts-and-seeds.html

Nuts and seeds are some of the most nutrient dense and delicious foods on earth. They are an important part of fertility nutrition, pregnancy nutrition and beyond because they supply the body with ample fiber, protein, minerals and essential fatty acids.

Seeds and nuts are packed with very important nutrients for fertility. They are literally the seed of life for a new plant, so they are packed with key ingredients to generate life. Four of the most important are proteins, omega- 3 essential fatty acids, zinc and vitamin E.

Artist Statement

My installation Moss Goddess was activated by the quote from A Natural History of the Senses. 

"The earth itself was a goddess, curvy and ripe, radiant with fertility, aspill with riches."

This quote really resonated with me because I've always felt that nature and the earth is spiritual. It provides us with life like a mother. It also spoke to me on a feminist level because most gods are men. I like giving goddesses a fair chance, and celebrating women in a reverent light. I chose to create my installation based off a female form to allow this celebration. The position I put the form in was to reference the iconic image of the crucifixion of Jesus Christ. I chose Spanish Moss and twine because of the natural element and the interaction created with the earth to attain it. The mandala was inspired by the Tibetan Buddhist tradition involving the ephemeral colored sand mandalas. I chose seeds and nuts and a few spontaneous flowers to represent the fertility and richness of Mother Earth. The draped moss was to create a veil-effect to suggest mystery. 

Moss Goddess First Draft

 In Progress Photos

Final Photos