Speaking to my experience as the product of artificial donor insemination and the daughter of a queer woman, my work seeks to embody feelings of displacement and existential dependency.
Speaking to my experience as the product of artificial donor insemination and the daughter of a queer woman, my work seeks to embody feelings of displacement and existential dependency. In the work of other artists, Ive seen the need to represent a different reality. In her recent exhibition at the Museum of Contemporary Art Chicago, for example, Lisa Thompson suggested that one could consider the painters of her generation as being somewhere between a vagrant and a professional killer, an artist who was also an artist. Thompson, who is also a painter, is best known for her minimalist paintings, which are her preferred mode of expression. Her paintings are always presented as disjunct between the painting itself and the painted surface. They look like a series of photographs, but are not. They are portraits, but not portraits of others. They are not portraits of the viewer, but portraits of Thompson herself.The paintings in her recent show, Untitled (all works 2019) were made using the same technique as the portraits. The works were hung in a line along the walls of the gallery like a series of mini portraits. The paintings, which were also on the wall, were in a similar vein. They were portraits of Thompson, but of a different person—one who looks like a different artist. The paintings are often hung close to the floor, but they dont look realistic. The faces that appear in them are often distorted and blurred, and the paintings are often made with plaster. The plaster moldings are usually in the form of a circle, with a hole at the top, a slit at the center, and a circle of holes in the middle. In one instance, a circle of holes is painted on the side of the painting, but isnt visible as such. It looks like a hole punched out of a circle, and it is filled in with plaster. In another painting, the plaster is used as a background for a painting that is painted on the canvas in such a way that it looks like a painting on canvas. The canvas is also painted with plaster, but with a different color, a shade of green.
Speaking to my experience as the product of artificial donor insemination and the daughter of a queer woman, my work seeks to embody feelings of displacement and existential dependency. At the same time, I am deeply invested in the fact that, as with many other artists, I am a queer woman and have struggled to be accepted as such. I have, for example, been criticized for my relationship to femininity in the wake of my involvement in womens shelters. I am often criticized for my participation in the feminist art world. I have participated in feminist art because it has helped me to understand what it means to be a woman. I do not have the luxury of being one-dimensional. I have to go forward and look. The work I have done as a feminist has been the manifestation of my sense of urgency to change the world. This is not to say that I am exclusively concerned with the social issues that affect womens lives. I am concerned with the fact that womens bodies are used and abused as commodities. By participating in this work, I am attempting to create a world in which womens bodies can be reclaimed as human beings and which begins with them.I am also concerned with the fact that we have not had the opportunity to see such bodies in the flesh for years. I have been asked to do work that is not only for the camera, but also for the body. It is something I have not been able to do, so I have asked a group of people to help me. They did not know how to use the camera, and I was asked to do something else. The work was to document a womans activity in public, but it was also to document how the photographer, the body that is the subject of the work, is photographed. So I used a hand camera to document a womans activity in a public place. The work is about the social situation of womens bodies and the body of the photograph. It is also about the social situation of womens bodies and the body of the photograph.
The artist seems to be saying that if the body is an arena for expressing the other, then the body is also an arena for expressing the other, and this is where the play of power is played out.
Speaking to my experience as the product of artificial donor insemination and the daughter of a queer woman, my work seeks to embody feelings of displacement and existential dependency. It does so by attempting to identify with the painful, difficult, and hopeless plight of a womans body, a body that can never be fully self-contained. The artist herself has worked to dismantle her own persona in order to become an active agent in that condition. In the process, she has become an artist, a conduit, and a producer of her own identity, and one who, like other queer people, is unable to escape the complexities of her own body.In this exhibition, Aporia van der Ley augmented the exhibition with two additional works that were also made by donor. The first, a wall piece that hung from the ceiling and was part of the same installation, consisted of a large sheet of paper that had been folded, torn, and folded. A white paper sheet, the same size as the one in the work, was placed on the wall. The folded paper was surrounded by a red cloth, a transparent plastic bag, and a yellow cloth. The paper was stretched, torn, and torn. The bag, which contained a small bottle of water, was also folded. The sheet was opened, revealing the contents of the bottle, which had been taped back to the paper and then folded back in the bag. The viewer was reminded of the precariousness of the paper, its physical and psychological properties, and the limited access to the contents. Van der Ley has a habit of using material that is fragile and subject to destruction. In this case, she used paper that was already fragile, but also strong and resilient, and that could be used to express the suffering of her body.The other work, a sculpture, was installed in the corner of the room, at the top of the wall, and consisted of a metal chain attached to a wall. The sculpture was a sort of megalith, a tomb, an offering to the earth.
Speaking to my experience as the product of artificial donor insemination and the daughter of a queer woman, my work seeks to embody feelings of displacement and existential dependency. The rest of the show consisted of prints and drawings. These were produced on a variety of materials, including photographs and film, and the resulting works were a combination of drawings, photographs, and paintings.The paintings in the show were dominated by monochrome, oil-on-linen, and acrylic paintings on canvas. Most of the paintings were made on canvas, with the exception of two works on paper, both of which were done in the same manner as the paintings. These works, along with a number of works on paper, were executed in a style that was easily recognizable to the viewer. As in the paintings, the artist did not attempt to create a seamless and flat surface. Rather, he employed a range of pictorial motifs—a number of which were found in his previous work.