Thibaud Grand, Hiéroglyphe Post-Moderne - 1991 Paris
Acrylique sur tissu noir Website
I’ll be debuting 9 new works for a show entitled, “Home is Where You Drown" in November. The piece above, "Invasive" is a preview of what to expect from this show.
The show is autobiographical, growing up in a small beach town with a rare syndrome (Nager’s syndrome) that led me to have over 20 surgeries. The syndrome left me with some slight deformities including having four fingers, some cranial facial issues and being deaf. These pieces switch points of views between me as a child and myself as an adult.
"Invasive" is about myself as a toddler, visiting the doctor’s office every two weeks and having multiple doctors basically study me. I never knew what was going on. The piece is also about the multiple surgeries I had as a child, again not knowing what was going on whatsoever. The explorers are invading the space, along with the giant anonymous hands. It was a confusing time, because I never knew what to expect with these appointments.
More info soon about the opening of “Home is Where You Drown,” and i’ll be releasing the rest of the pieces after the show.
Follow @barrydraws on Instagram for more work in progress shots.
"At Night" involves identifying that people have within themselves some things in which ego-consciousness cannot accept, things that goes against social rules or ideals such as the tendency, request, memory and experiences that have been rejected by an individual.
The main perspective is that such negative elements become contents that are not included in one’s ego, creates the dark image which makes people feel unpleasant and to criticize, and point out that “it is what makes the original form of shadow in the subconsciousness which has been repressed by the consciousness”.
Untitled 34, 2:45 PM–7:45 PM, April 15, 2014; 11:30 AM–12:45 PM, April 16, 2014
Formica, Plexiglas, Everlast boxing wraps, string
As installed: 86 x 57 x 37 in. (218.4 x 144.8 x 94 cm)
From The Working Move
The Working Move is a two-part project consisting of a live performance and photographic installation. The work is inspired by Ballet movement vocabularies that relate to labor and endurance. The Working Move is informed by the histories of avant-garde dance and its relationship to visual art. In the work, movements are constructed to depict dancers interacting directly with a collection of plinths - these minimalist structures serve alternately as set, a supportive prop or an unwieldy burden. The live performance is set within the context of a rehearsal where dancers perform while taking instruction from a director regarding how to make the movements. The fourth wall is broken and the dance will stop and restart as the director leads and creates the dance. Through this project I am making further reference to my past research on museum display technique as it relates to the “othered culture.” The dancers will dance and move with the apparatuses that display museum “artifacts” (plinths, hooks, stands). The body becomes a stand-in for the “artifact.” Through this project I explore the body’s status as a commodity via the theory of value, specifically looking at the dancer’s body as a place of creation that is also taxed when in the process of performing.
The Working Move is a live performance conceived and choreographed by Brendan Fernandes, co-choreographed by Justine Chambers, and originally danced by Cody Cox, Carolynn Fisher, Zoe Nichele, Diego Romero and Sophia Wolfe, with music performed by Zabelita Fraser. Produced by the Western Front Society, Vancouver, BC with the support of EDAM Dance, The Deux Mille Foundation and the Hamber Foundation.