ICP-Bard MFA studios : 24-20 Jackson Ave. Long Island City, NY 11101
Much of Ivana Larrosa’s work is an exploration and expression of the strangely subjective perception that she inherited as a result of a traumatic car accident years ago, which left her with permanent double vision. Stuck in an overturned car for more than an hour, Larrosa brushed up against death and came out with a new desire for self-discovery. After a long period of physical therapy she began a series of solitary travels around the globe and focused all her energies on art making. In New York she has been using her body as material in documented performance; developing an acutely stylized approach that blends a playful womb-world with a hauntingly inescapable strange loop.
In one of my favorite video pieces, Gravity (4:31), the shot from above holds steady on a brown leather couch. The artist crawls around it, contorting her body and grabbing on as if for her life. It reminds me of a childhood playing on couches where the wood tiles were lava, not to be stepped-on or fallen-into. The stagnant camera disorients the viewer as the piece endures, becoming a ghostly view of the out-of-body experience.
Months ago I watched as Larrosa brought a variety of candy colored plastic toys into the studio. There were little 3D figures reminiscent of the flashing LED people in the crosswalk light, but some of them were running and some had their fists raised like superheroes flying through space. She brought in old broken mechanical devices: tape players, TVs, and typewriters, then proceeded to color them with spray paint. She installed them laying on the floor in elaborate compositions with confetti and curlicues every which way – it was sensory overdrive. Looking at this work and it’s installation revealed moments of hilarity mixed with a hallucinogenic heaviness. Her little walk/run/fly figures cascaded down a color gradient banner toward the hardwood floor.
“Like in Star Wars, ‘I am your father,’ but it’s ‘I am not your mother’… that’s really how it came. I think in the end you need to use humor, I think in the end life is not that serious…. Like you are not going to get rejected at the gates of heaven if you don’t have enough pictures!”
MFA Solo Thesis Show season starts over, and I have the honor to break the ice for the Class’16 with I am not your mother. Needless to say I would love dear reader coming over and join me for this big moment. It’s a piece of my experience at ICP-Bard and also the most intimate and wild work I have done. (One of the reasons because the title is in first person).
If there is a word that sums up my experience at this program is “healing”. It’s been a tough but very rewarding job thanks to the support of my beautiful and talented community of classmates, teachers, staff and ICP and NY artist community. So grateful to share this rebirth with you in this long road that my car accident has led me. Continue reading →
As a MFA student at ICP part of the final thesis project is a solo show. This week Beau Torres will be having his solo show on Thursday night (3/12) and I will be posting details about him, his creative process and all other things that bring together his solo show and of course, the show invitation with all information needed.
Beau Torres is a photo-based artist living in beautiful Bay Ridge, Brooklyn. He is originally from Powder Springs, Georgia and attended Georgia State University in Atlanta. While at GSU he was president of the photography club ExLucis and hosted Deviltown a weekly folk radio show on WRAS Atlanta Album 88. He graduated with a BFA in Studio Art with a Concentration in Photography. His final portfolio, also entitled deviltown, was exhibited as a 6 channel video installation at The Window Project at GSU’s Digital Arts Entertainment Laboratory (DAEL). Around Atlanta he was involved in the gallery scene working with both Jennifer Schwartz Gallery and Fall Line Press. Additionally he freelanced with BURNAWAY conducting artist interviews. His current video work entitled What I’m Bringing To The Table is a series of tabletop performances creating abstracted collages from everyday items.
I’ve always been interested in how metaphors are used in daily language. If you break the phrase down, another definition of the word “dead” means “precise,” like “dead center”. The word “ringer” comes from a 19th-century horse racing term used to describe a horse substituted for another of similar appearance and trotted around as a way to way to defraud the bookies.
So the term “dead ringer” means “exact duplicate” and is typically used when referring to one person’s likeness to another. When thinking about this term in relation to my show, I took artistic license to think of how the term “dead ringers” could apply not just to people but things too. For example, the flesh-colored stockings used in my installation are manufactured to be dead ringers for a woman’s skin tone.
Further relating this conceptual idea to the photographs of mugshots of women all named “Qiana”, the title/term “Dead Ringers” for me also instigated thoughts about the practices behind (offender and racial) profiling.