On November 2, 2018, Jacki Apple wrote Love Lost and the Enchantment of Objects, a critical essay on my performance, Object of Her Affection, for Fabrik in her column, Peripheral Visions: Perspectives on Performance, Media and Culture.
From December 10th-20th, “(In)/Animate Objects triptych”, a limited edition photograph, is part of an online auction for Automata, a Los Angeles arts organization dedicated to experimental puppet theater, film, and contemporary art practices. The dolls in the photograph were originally part of (In)/Animate Objects, my installation for the 2016 COLA Fellowship exhibition. Continue reading “(In)/Animate Objects triptych, Automata (online auction)”
On August 19th, 2017, there was a book launch for COLA 20, featuring DJ Daedalus at Grand Performances in downtown Los Angeles. COLA 20, a hardbound edition, that tells the story of the Los Angeles art scene and the impact of the Department of Cultural Affairs through its 20 year history of the COLA Individual Artist Fellowship Initiative. I was awarded a COLA Fellowship in 2016, which enabled me to create the installation (In)/Animate Objects at Los Angeles Municipal Art Gallery. (In)/Animate Objects explored the excesses of a doll hoarding grandmother and featured 1,261 handmade, distressed rag dolls. Continue reading “COLA20 (book launch)”
On December 30th, 2014, an entry on Object of Her Affection was published in Big Art Group’s 2015 Contemporary Performance Almanac, edited by Caden Manson and Jemma Nelson. Object of Her Affection is a solo puppetry and object performance art piece centered on a woman, who in her search for true love develops intimate relationships with inanimate objects.
In June, 2007, I was a marionettist in Lead Feet and Nothing Upstairs: A History of the Lifelike. Written and directed by Susan Simpson, Lead Feet focused on female triplets raised their grandmother (who I performed) and ideas about originality and personal identity. LA Taco covered Lead Feet, published a photo I took of one of the marionettes and mentioned my performance as the grandmother.
The power of puppetry was present in the tiny detailed face of the crone-like grandmother, whose miniscule movements conveyed profound love and protection, whether reaching out to nothingness for a hug or spreading a heaven-sent blanket over her ward
– LA Taco
On November 4th, 2005 The Orlando Sentinel published a photo from Growing Up Linda – Birthday Trauma in their coverage of the Orlando Puppet Festival. I performed Growing Up Linda – Birthday Trauma for Puppets from the Edge at Mad Cow Theater on November 6th, 2005. Continue reading “Orlando Sentinel (press)”
On November th, 2004, I presented my artist-talk at Bryant University in Smithfield, RI to Petra Kuppers’s Medical Visions/Medical Performances class.
On September 26th, 2004, I donated Green Insect-Bunny Hybrid a framed photograph of one of my early puppets to the Sunny Side Up Brunch and Silent Auction at the Fairmont Copley Plaza in Boston. Proceeds went to support the Commonwealth of Massachusetts Commission on Gay and Lesbian Youth
From December 10th, 2003 – January 9th, 2004, I exhibited photographic portraits of pharmaceuticals form the Side Effects series at the Woods-Gerry Gallery in Providence. The pieces I exhibited were Large Zyprexa #46, Large Abilify #6, Large Serequil #11. Each print was 24.5″ x 24.5″. The exhibition was part of the Rhode Island School of Design (RISD) Staff Show, where I was working as an artist model.