Anatomica Nervosa
Converging in the space of a gallery, the proposed exhibition, Anatomica Nervosa, will unify a synthesis of two project series, Project Series: Preserves and What She Saw. Installed concurrently, a body of work will surface, each project[ion] intent on informing an independent yet synchronous discourse of bodily disclosure, a narrative set in reference to a visual and textual process coherent within interdisciplinary practices. Realized on site, the work will reflect an atmosphere of archive, multiple sites constructed of multiple mediums performing multiple readings, a visual shifting of textual boundaries between the mediums and the exhibition state. The exhibition will unfold, collecting, compiling, and housing images, the objects of photographic image and the specimens of anatomical waxes. Over the months, the proposed work will continue to actualize, substantially increasing in collection and size, image and text yet; the premise and [psycho] analysis will remain unaltered. Accompanying the exhibition is further support material, in particular, a text entitled Lapsus Lingae: [Slip of the Tongue], a narrative of fact/fiction/friction that informed and initiated the beginnings of this project, and photographic images wherein the sites were of chance and circumstance, the collection only a construct in assemblage.
As am emerging artist, I am in the process of negotiating a coherent and cohesive body of work ready for submission and/or exhibition. Only as of recent, have I immersed myself in an artistic and textual practice, reflective of an interdisciplinary approach to art making. My methodologies draw upon the conceptual, the analytical, and the representational; ideas are generated through the spaces that I inhabit and by the vocabularies I translate into visual narrative. The possibilities of material propel an unconventional language of medium forward; my process is my intent of continual examination, critical investigation and conceptual exploration. Any allusions to environment, corporeality, and/or construction of site/locale produced in my work is directly reflective of a work history in film, and forestry, and a personal history of extensive travel coupled with acute illness. As of the year 2000, I began this practice of process, the notion of art making, the representational projection of textual and visual exchange. And that's all she wrote.

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