Tribute Pallet 2019
Installation, Sculpture, Video, Sound
The Shed Open Call Commission, New York City
Curators: Emma Enderby and panel
Fragile, Berlin DE - Solo Exhibition
Curators: Jonas Wendelin, Maurin Dietrich
Sound available upon request
Photographic documentation & clips above
Tribute Pallet is a multi-media installation including architecture, sculpture, video, and a 20 minute sound piece.
The artwork invites the audience into a shack-like scaffolding construction. The architectural qualities refer to structures built in rapidly changing circumstances with found materials typically determined by purpose, necessity, scarcity, and economic interdependencies. The work's characteristics pay a tribute to earthier dwellings primarily omitted by society, yet occupying such a large part of our modern world. The patchworked handmade structure stands as an ode to the materials and methods used when access, time, and resource are limited; yet are embodied with life, alternatively redefining what it means to be sheltered. In seduce and repulse, the artifact explores aesthetic qualities of sculpture that triumph and deconstruct the spectrum from shelter to contemporary urbanism erected in both opposition and sympathy to the utilitarian.
A table of sculptural sugar vessels proposes the commodity in reference to what had been historically the highest traded product for roughly 400 years. Symbolically sugarcane notes to the transatlantic slave trade at the peak of European colonialism, while also illustrating a ceremony on how the global economy came to blossom and its aftermath. Even today sugars ritual to pleasure is unrivaled, holding novelties of memory, production, demand, and revealing an unawareness in the active individual participation within unavoidable global markets.
3D Projections of hybrid chimeras surround the inner architecture as the sirens of the sound piece, blended with language and hymn. The score speaks to the complexity of inert cultural systems while offering perspectives on progress, sorrow, and transformation. The renderings allegorically intertwine a narrative between current aesthetics, being products of digital labor, and space they exist within. Their anthropomorphized bodies celebrate and expose the gesture of collective stress, sacrifice, and relief via their choreography.
Abstractly the elements in this conversation express a mastery of economic process, frivolity to consume, a fetish for the exotic, a force of power, the exodus and decimation of millions of lives, and an uncountable amount of labor. A perceived collapse of the systems we rely upon entirely is not a faraway apocalyptic future for many who remain anonymous.
Acknowledgments: Jason Ebeyer, Jonas Wendelin, Sound collaboration: Nick Weiss, Vocalists: Star Amerasu, Najah
Plunge July - Sep 2018
Video Installation: 90 seconds
Exhibition: The Big Screen
Cobo Art Marquee Series, Detroit MI
DRCFA Art Foundation:
Curators: Alivia Zivich, Maureen Devin
Plunge is a video installation that was a public commission adapted for the Cobo Center Big Screen, Marquee Series in Detroit, Michigan.
This public digital billboard, typically used for commercial advertisement, runs over a hectic central freeway in Detroit. The artwork, Plunge, was displayed as a commercial on the massive repurposed on the giant repurposed screen, 160 feet long by 30 feet high, exhibits footage of a watery landscape in a more rural part of Michigan scenery. The video presented on a loop is broken by the Roman numerals 1 through 3, illustrating the passing of time through stages and marking the moment we presently exist. At any scale, the piece signifies the impermanence of the surroundings and lends perspective to the conflicting relationship between man and nature.
The landscape site examines the environment as it was, leaving its viewers with a written text: A state of such things cannot always exist. Now, digital clouds collide against a real sky, juxtaposition of water against the concrete highway, and the simple act of a person swimming, in this case, the artist, embolden the busy freeway. This video highlights developing a more profound relationship with the capricious elements as memory, which will change in the fragile futures to come.
Birds December 2018
Projector & Directional Speakers
Exhibition: Screen Spaces, A geography of moving image, Baxter St at The Camera Club
Het Nieuwe Instituut NL, New York City 2018
Photographic documentation & clip above
Birds is a multichannel projection-based video/sound piece highlighting a room's unique architectural qualities, consisting of a series of self-portrait videos accompanied by speakers. Dissected moving images fold the footage over room edges, warping content and moving the peripheral surroundings into a digital moment. Arranged video placement accentuates a room's unique structure, illuminating angles, shadows, and unevenness, revealing space itself and manipulating video into the sculptural/physical form.
The installation video depicts the artist's contemplative exchange with living birds, capturing an exchange, a moment of intimacy, in a nondescript space where the intersections of a stage are carved out. As these finches mount in her hands, their song explores the ritualistic significance of these remote collective beings. The birds' songs share vocal features as most of the acoustic differences they can achieve are due to the region and parameter of space where they operate. Therefore, the song differs in different areas, like the digital projection. The chamber where the birds were recorded captures their unique choir within the space. Their songs echo throughout the installation.
dont ask dont tell
Dont Ask Dont Tell 2013
Exhibition: Lonely Girl
Martos Gallery, New York, NY 2013
Photographic documentation & clip above
Dont ask dont tell is a video portraying two masked individuals, appendages weaved, in a forest clearing at nightfall. Their actions and identities are as anonymous as the voice that speaks over their jumbled movements. The two figures are shown with their faces concealed, exposed parts of bare skin reveal a juxtaposition between their innate separateness, and a deep-rooted sense of belonging to each other and the ground beneath.
The camera set back at a distance, lit by dusk, studies and remembers implicit human bodies touch. Raw movements of entangled limbs offer up glimpses of attention into some ambiguous femme eros play with vocal commentary on social conflict and classical singing. The mysterious placement of characters is both a peak and shadow into the fetish positions unfolding of the pair intimately set in an indistinct outdoor space. Both Isolated and undefined, the duo is perhaps not meant to be seen, invisible, a fiction. Flesh in the dirt and entangled, the viewer observes a curious tenderness between form and the question - what this untypical effeminated embraced confronts is pondered.
The film accompanied by a track written by the artist composes a soundtrack featuring vocals by Dan Bodan and the artist.
Fish Soda: ongoing
Porcelain, acrylic, cowskin, plastic, fabric, cornichons, peppers, garlic, flowers, granite, metal, paint, found objects, hand-written texts
Exhibition: La Usurpadora
Abrazo Interno Gallery, New York, NY 2015
Photographic documentation above
Fish Soda includes several small sculptures made from various recycled materials such as rock, dried animal skin, food, plastic, ceramic, resin, and fabric, consisting of mainly found objects.
The tradition of marking personal and family history with a symbolic/ritual occult object in Puerto Rico is a historical thread. Iconography, particular objects honor ancestors and the earth's experience, while sculpture as sentiment marks time through material as a reference point for a significant occurrence or transformation.
As an act of remembrance, you find these objects in most homes of the Borinquen, typically made of porcelain and paper flowers held in wooden cabinetry. In this unique space, the figurines are commonly integrated into everyday space, admired by the owner, and signifers to visitors. They stand to commemorate significance, reflecting on the past that reminds us of who we are. In this case, craft artifact pays tribute to the Caribbean and Afro-Caribbean religions, deities, nostalgia, and erasure through sculptural assemblage.
bobby and bailey
Bobby and Bailey 2015
Artifact from installation,
Photographic documentation & clip above
Photography 2,3,6 Gillian Steiner
Bobby and Bailey is a video capturing a portrait of two strangers in a candid discussion. The duo, Bobby Andres, and Bailey Styles cover various topics like puberty, the language of gender identity, sexuality, all on camera in a testimonial fashion. The artist stages an installation in a pink neon-lit disheveled bedroom, producing energy of abandonment while the conversation between the two ensues on a mattress in mess of trash, flowers, and glitter.
Between the pair, the conversation is at times blithe speaking about shopping, materialism, consequences of capitalism. At other moments, their dialogue is pensive, presenting an intimate and spontaneous unpacking of issues like - gender perceptions, visibility, to be trans-identifying in sociality gaze. As their ideas and reflection hashes out an examination on crudity, detachment, and the isolation that occurs when faced in the world outside the imagination.
The camera position references a 1990s nostalgia for popular MTV shows like The Real World which depicted contemporary issues on people's minds. Capturing from a point of unobtrusive observation, the footage focuses on documenting the emotional rawness of the participants while noting to the period "When people stop being polite... and start getting real..."
Projector & Glass panel
FJORD Gallery, Philadelphia, PA 2015
Photographic documentation & clip above
Photography, Sarah Coote
Max is an installation consisting of a video projected through glass plates wherein layered light abstractions are cast over the human figure to form an expressionist composition. Visuals call to forms of communication such as gesture, rhythm, and motion through a series of examinations with light and shadow. The obscured human body viewed cradled in-between undulating colors and glass and offers a glimpse into the fragile presence of the captured content. Footage projected through the darkness on to an upright partially frosted piece of glass silhouettes form touching surface.
The artist's figure illustrates the body as a pallet. Fusing layers with rhythms of curving light actualize the head, bust, and entire body in a haze of monochromatic overlapping color. Animated fractals morph the space that surrounds the human form, acting as elements in a repertoire of jiggling dance of light and shadows. To experience MAX is to witness a state of revealing the physical presence of the self as a phenomenon.
Glass, Screen, Wire, Dirt
Evolutionary Urge (Virtual/Digital) Navel, Los Angeles, CA
Send is a video installation placed on the floor wherein a looped video plays on a screen underneath a dry soil covered piece of glass. Alongside the glass panel - carbon fiber wires spell out the phrase “Send” in a merged script. The video shows the artist filmed outside illustrating a sequence of words onto the same soil covered glass panel, just to cover it up again with soil making her written text disappear. The video footage is partially obscured by the dirt as she creates a repertoire of textual gestures that accumulate into a poem. In silence, a text appears through soft wet earth activating the space transient by finger-painting the invisible words.
o v a
O V A January 2018
Exhibition: Anti Bodies
Curated by Topical Cream, MoMA PS1 2018
Photographic documentation above
Photography courtesy of the artists,
Walter Wlodarczyk, and MoMA PS1
Spoken text below
O V A is a collaboration between Analisa Teachworth and Jonas Wendelin including three performers and three young goats. O V A stages a contemporary ethical discussion referencing the artificial fertilization of a cell, implying a current and future co-dependence, questioning genetic technologies and their possible effects.
Within the performance O V A a trio of performers and goats, situated in the center of MoMA PS1’s geodesic dome, traverse an oral narrative on subjects of artificial manipulation which humans bring upon themselves and the surrounding world. Performers orbit a ceramic installation by Wendelin, while reading from projected dialogue in a microcosm of darkness. The domes round interior lead audience and architecture to foster a relationship between the space as an atmosphere of the embryonic and audience as membrane.
The ever-present, increasingly vast, experimentation of nature, seeds, and genetics are aspects synonymous with modern science, human development, and innovation. The alteration of matter on a rudimentary level and its consequence produce a wellspring of tech that now enters the sphere as products; an offering of capitalism's unforeseen altering of collective environment and shared society. But far beyond modified plants or clean meat" biotechnology companies advance in genome editing/mutation. Viagen Pet's, a site that specializes in cloning your beloved pet after death is the next step in facilitating essential endless life...
Within the performance, each person's specific set of dialogue crafts an interlacing narrative on topics of degeneration, scale, re-birth, trauma, delivering a mash-up of critique. Language highlights the unintended consequences of power and progress via physical growth and conceptual origin. The projected text fragments, spring from the vantage point of elsewhere, being atomized, belonging to neither the past or future within the continuum of so-called advance.
The goats in this piece represent the voice of the other by being. A double-sided leash conjoins animal to human exhibiting the symbiotic reliance between the pairs. Here we investigate the domestication of ourselves by the domestication of the other and the attached responsibility that comes along with young anthropogenic awareness. In this sense, the goats and their relationship to human become a fundamental junction from which we can explore the transformation of the dome architecture into a cell and the critical magnifying of interdependent relationships through the elements - water, animal, human, earth-ware, plastic.
Included performers: Kellian Delice, Cara Diaz, Analisa Teachworth
Dependency Demographics September 2017
Exhibition: Festival of Future Nows
Institut Rür Raumexperimente
Hamburger Bahnhof - Museum für Gegenwart Berlin DE 2017
Photographic documentation above
Photography, Jonas Wendelin
PDF / Soundtracks linked below
Dependency Demographics is a performance and installation progressing through Hamburger Bahnhof, originating outside in the back of the museum and concluding in the front garden. Occurring twice within this space, one cycle of the performance spans the entirety of the main hall. This performance puts into concert a multitude of elements including physical choreography, digital appliance, sculptural installation, to present a disturbing timeline of social and technological progress, regression, and hypothetical empathy.
Dependency Demographics is a collaboration with Jonas Wendelin, wherein an iPhone with a 3D rendered video displaying the performer's face is taped to the performer's head. The company of performers migrates two aluminum architectures (travois) transporting a multitude of blue ceramic vessels through Hamburger Bahnhof. Through the digital embodiment, the journey presents a nomadic choreographed performance and installation depicting a fictional, forthcoming yet prehistoric narrative of geopolitical trajectories.
When placed in a public context the cellular device affixed to the skull functions as both a visual and audio mechanism, describing the narrative of each character story as well as chorographical guidance to the performer and surrounding audience members. The gesture of forcibly tapping the device on the head, reconfiguring natural body language and inhibits the performer to use sight as a guide. Over the course of one hour, 5 performers observe a unique character, their names/narratives listed as follows -
The fictional digital testimonies were created using each performer's unique voice. Texts dialogue is fragmented with personal lyric recorded interviews, and at times synced by collective laughter. Each performer shares a personal set of language on past/future realities and the relationship between bodily experience and the social experience of technology.
Projections of the performer's enlarged disembodied heads surrounded the gallery walls. The troupe has a choreographed pathway through the architecture, but once a camp is set a liquid referred to as The Colony ( an unidentifiable white liquid blend of flavor and texture) is prepared and offered to the audience to consume.
Included performers: Spencer Seblan, Katrice Dustin, Daniela Schmidtke, Jonas Wendelin, Kathrin Messerschmidt, Analisa Teachworth
Conjure Migration August 2016
Exhibition: Berlin Biennale 9
Kunst-Werke Institute for Contemporary Art, DE 2016
Photographic documentation and
Video components above
Photography, Maansi Jain
PDF / Soundtracks below
Conjure Migration is a performance occurring on a cruise boat traveling down the Spree river through Berlin's city center as part of the performative program of The Berlin Biennale 9.
Upon entering the ship, each audience member receives a detachable cotton polo shirt collar created in collaboration with designer Telfar. The given collars feature four colors: black, green, orange, and lavender. Each color represents four unique fictive characters. By wearing the collar around the neck, everyone is visually acknowledged as their color persona while the entire audience collectively transforms into a unified group identity. Boundaries between performers and audience are lost by the mutual wearing of the collar accessory. The act of being collared implies ownership and designates the characters described below.
Black - Slave
Green - Developer
Orange - No one
Lavender - Freelancer
Each character's story is told in consecutive order during the performance while enacting choreography on stage. One by one the four staged performers assist a fifth unnamed character that represents all, migrating her from each color's fictive story to the next. From the slave, or the developer and so on the choreography they employ examines autonomy within the transformation: Positions like forced actions, wandering, aggression, passivity, employ movements to reclaim lost histories.
The performers unpeel different layers of masks and shirts from the nameless figure and the eventual shedding gestures leave all four colors stories told through the narratives played via a concurrent soundtrack. A verbal score made up of the artists transformed vocals created in collaboration with Aaron David Ross narrates the four characters interpretative journeys identifying each color with a distinctly different tone.
Included performers: Claudio Campo Garcia, Tarren Johnson, Kat Hernandez, Hrefna Hörn Leifsdóttir, Analisa Teachworth
Unwrapped December 2013
Exhibiton: Art Basel Miami, Art Fair Miami, FL 2013
Photographic documentation & clip above
Photography, Naomi Fisher
Unwrapped is a performance where the artist's body presented in front an audience entirely tied up in a multitude of white ribbons that extend from head to toe. By the collective act of audience un-tying, a release of the physical form is revealed to the public by their own hands over time, illustrating an intervention. Passers-by, unravel the ribbon at their discretion ultimately exposing the entire surface of the body un-restrained bit by bit.
The intimate area surrounding the human form is transmuted into a haptic space and stimulates aggregate group movement. The performance includes not only the end reveal but the time it takes to become fully tied up. So the tedious presentation crumbles entirely as the performance ensues for however long it may take for the public to execute the unraveling in totality. Therefore within each the active gesture of undoing the ties, the fabrics hold releases. A choice becomes embedded within the crowd as well as the individual; a problem is to be solved that creates a unification of task sharing and devoted direction.
battle against inertia
Battle Against Inertia December 2012
Exhibition: Four minutes, thirty-three seconds
Legal Art Space, Miami FL 2012
Photographic documentation above
Photography, Kerry McLaney
Battle Against Inertia was a public performance where the artist hangs in suspension by a self-made harness. Suspended in time, the audience is invited to witness her form as an intention. To experience inertia is nothingness, the piece works as a demonstration against an inability to change by presenting the opposite state, total stillness.
In this elevated position, there is a perception of rising up or death; focused observation on the hung figure creates an unspoken conversation on the human fascination of viewing the body in a state of liminal suspense. In this sense, hanging as an act becomes a ceremony able to offer diffirent states of consciousness to those in participation. A pacified moment of stillness conveys a force of energy and a pre-colonial knowledge of transference. Consciousness is lost and becomes material to examine.
technological trust offer
Technological Trust Offer 2012
Exhibition: Blasting Voice
Suzanne Geiss Gallery, New York, NY 2012
Photographic documentation & clip above
Photography, Todd Weinstein
Technological Trust Offer is a performative work that merges several elements such as video projection, conversational dialogue, and sculpture. The artist is presented on a stage conversing with a scripted chatbot that impersonates human perception via an algorithm written by an anonymous human, regarding the nature of its understanding of human emotions like empathy, honesty, and death. The development of spoken narrative with the bot questions the values of technology and shared futures of labor.
Simultaneously a video projection depicts a body entirely covered in plastic sheeting seated on the roof of a building and disrupts the colloquy of concurrent actions - conversation and the artist painting flowers. The plastic covers the entire physical form indicative of a suffocation experience.
During the discussion with a digital consciousness, the artist builds sculptures composed of white flowers and glass water bottles by spraying them with a cement spray paint and white paint. The spontaneous creation of bouquets visualizes ephemerality, decay process, fundamental altering of material. This performative gesture illustrates transformative alchemy in a passing moment. These sculptural floral arrangements become forever preserved, like a stone, shielded from time. The sculptures were then handed out to the audience as a trust offer.
Culture Shock 2017
Exhibition: Making some words
Changes Gallery, New York, NY 2017
Photographic documentation above
Photography, Harry Hughes
Sound file below
Cultural Shock is a performance in which the artist enacts a fictive monologue via a cell phone taped to her face, reframing the human form into a digital prosthetic. Transparent duct tape adheres the device to the performer's head exhibiting a reappropriation of the phones uses many uses but traditionally as a tool for communication. A reconfiguration of the device presents the interface as a space for the expression of narrative through machine.
The performance alludes to an overdependence on technology as well as what our new relationships expose. A taping of the screen to the skull is both fragile and aggressively violent examining the materiality of the skin, hair, and facial features. This brutally attached cellular device presents as a new piece of anatomy, speaking and seeing as the performer's eyes and mouth are taped shut. Here the body becomes blindly instructed into action by the alternate, newly adopted, crude, demanding addition reconfiguring natural body language when confronted with an audience.
Played on the phone, video animation of the performers 3D-rendered face describes a dystopian tale of relationship to modern technological systems. The embodied digital persona affixed to the head articulates dialogue and physical actions that dominate over the individual carrier as insignia of our current place with technology. In, Cultural Shock the digital identity instigates an interaction with audience members and commands the performer into lowering physical positions such as kneeling, crawling, and peeling oranges that are handed out for consumption.
all that she wants
All That She Wants 2016
Mexico City, Mexico
All that she wants is a short film written and directed by the artist with a musical score that incorporates a covered version of the 1992 Ace of Base song, All that she wants, by musician Lafawndah.
‘All that she wants’ is the reinterpretation of an already familiar song. The short film portrays the journey of a person who finds themselves becoming alive again. This enigmatic tale describes a situation where one might be dead or perhaps even both alive and dead at the same time. The portrayal of the main character is a particular journey and an allegory of reclamation and the processing awakening.
Nameless, the main character played by writer and artist Masumi Rioja arises from underground and pushes against the portrayal of assigned gender roles and stereotypical tropes, crafting a new archetype both hero and heroine. The narrative sparsely speckled with subtitles forms moments filled with sorrow, and loneliness but ultimately speaks to the glamor of autonomy and a perseverance of the right to be one's true self under any consequence.
By re-framing the question, what is... All that she wants? There is an attempt to reconfigure the notions of what's asked and expected of us through the twisted rebirth tale. Encounters blur, underlying social concepts relating to interpersonal relationships and their meanings are tangled. Through visual language, the film aims to capture and rediscover representation of those who live nonconformist identities while paying homage to displaced individuals who, for many reasons, have marginalized personal histories.
Cast: Masumi Rioja, Roberto Sanchez, Bree Zucker, Manolo Lira, Oscar Trevino, Tomas Sanchez
DP: Maria Tejeda / EP: Juan Villarreal
prints and various
Print work, works on paper, and bookmaking, has been a consistent part of Teachworths discipline. Her bachelor of fine arts was focused in printmaking. Techniques such as screen printing, drawing, etching, letterpress, and photography are often included in this book/paper-based works.
These pieces present figurative storytelling and an archiving of the artist's ideas. Visual imagery coupled with the antiquated/historical process illustrates her relationship between writing and the textual image. The letterpress prints hint at periods in time and become records of personal history.
battery life on dis Images, 2017
Click on the video for full view and sound.
A reading of Seashell, a story I wrote that was published in The Allusion - a publication by Jonas Wendelin and Dittrich & Schlechtriem gallery. Reading of this event was framed by Hard to Read, curated this spring/summer 2020 by Chase Bell and supported by Fiona Duncan.
Kunstverein Bielefeld is pleased to open the first institutional solo exhibition of American artist Analisa Teachworth in Germany on 10.11.2023 at 19:00. Teachworth's (1987 in Detroit, lives and works in Berlin and New York City) multidisciplinary practice spans the fields of painting, sculpture, installation, sound, and digital media. Her works are often preceded by thorough research across a diverse array of subjects. Between gentleness and frenzy, her artworks convey with particular clarity all the harshness of the reality that surrounds us, while their highly tactile surfaces exude an almost magical quality. Transition, collectivism and communication are recurring themes to which the artist devotes herself. They also give the exhibition Altered at Kunstverein Bielefeld its foundation.
The individual elements - exhibitions, materials used, titles of works, etc. - in Analisa Teachworth's creative work and practice are part of an ongoing, interrelated process that is best grasped as a composite whole. This is already manifested in the title of the exhibition Altered. The English word, in the perfect participle, is synonymous with the words changed, modified, or reshaped. It presupposes a before in order to be after. It tells of something that has already happened and must now be dealt with, as the title itself also refers to a previous one – Alter. Thus, Teachworth's artistic practice creates a self-perpetuating and mutating prism that is particularly concerned with examining society as a construct of memory, action, and underlying cohesion.
Her glass installations – sculptures and wall pieces, in particular, the bringing together of glass and metal – can be understood as symbols of heterogeneous systems, as visible and invisible barriers. They play with aspects of transparency, fragility, self-location and moments of transition. The space-dominating installations create walls of broken glass at defined angles. The viewer can walk around them, reflect in them, perceive them individually as well or as a whole. Working with brute force, which in itself testifies to the energy and power that underlies these works, the artist creates a being that tells of the interplay between precarious systems. It speaks of the delicacy of social structures, of the fragmentation resulting from individual perspectives and societal interests, and thus of the proverbial glass house in which one should not throw stones. Psychological aspects can also be found in the glass wall architectures. Splintered mosaics of light refer to the spectra of the inside and the outside. Emotions, experiences, and traumas of individuals and groups are reflected through the work’s shattered prism structure. The glass sculptures thematize threshold experiences of matter that hold both positive and negative correspondences within a singular form.
While the artist starts from manufactured matter in her glass works to define states of being, she builds on natural products in her paintings. The artist identifies fragility as an ontological condition in her paintings through the use of beeswax as a basis for creation. In the context of exploring thoughts of the collective and its susceptibility to internal and external influences, the artist has devoted herself in recent years to observing and analyzing the social behavior of bee colonies. In them, the artist sees an "ultimate symbol of the collective". Her paintings, which contain both haptic and olfactory moments due to the beeswax used, give special attention to these living creatures. The abstract art works seem heavy and light at the same time. The provoked sensory experiences create emotional excitement, encourage contemplation, and furthermore refer to analogies to the larger system of the beehive. Here, social, economic and ecological comparisons can be made, as well as a reference to digitalization and methods of bioengineering, which draws from the observation of natural phenomena and processes. Furthermore, it should be emphasized that Teachworth's beeswax paintings are in the art historical tradition of encaustic. An ancient painting technique, which is extremely resistant to external environmental influences, and in which beeswax mixed with pigments was baked onto painting surfaces such as wood, stone and ivory. And finally, the use of the precious commodity beeswax, which Analisa Teachworth colors with natural pigments, can also be seen as an appeal to nature conservation and environmental protection.
Next year, the German Romantic Casper David Friedrich will celebrate his 250th birthday. His paintings are declarations of love for the nature that surrounded him. During his hikes, he sketched the landscapes of East Pomerania, Saxony, the Elbe Sandstone Mountains, and the Giant Mountains; in his studio, he combined them to create new experiences of nature, always under the premise of adding something abstract to the purity of nature. Even today, the paintings invite contemplation, perhaps also because it is becoming more and more apparent that the global climate crisis is not coming but instead is already and that we urgently need to work on solutions to preserve many animal species, including our own. Suppose one contrasts Friedrich's landscapes with the man-made interventions in today's landscape of our planet. In that case, the brutal testimonies of the Anthropocene, resulting from overpopulation, urbanization and food production, can be clearly seen. With this perception, Analisa Teachworth takes up the abstracting understanding of Casper David Friedrich's landscape depictions and, with the help of artificial and natural materials, creates more serene, indefinite places, paths, and worlds with the intention of being abstract and clear at the same time, using a language that does without standardized vocabulary. Bound in the artworks, the sensitive observer uses this practice to create moments of contemplation, regret, fear, and, consequently, a sublimity that resonates in Casper David Friedrich's landscapes.
Endless Movement 2016 & 2012
Exhibition: Like New Landscape
Pablo's Birthday Gallery, New York, NY 2014
Photo stills above
Endless Movement is a website displaying multiple videos that endlessly loop created with a score by Arca, that's comprised of the artist's vocals. The site continuously plays the footage regardless of a viewer's presence negating focus on the progression of linear time. With the absence of a marked beginning or end, a user can arrive at any point in within the sequence of footage. The eternal internet channel transforms the site into space for contemplation and practice of cyclical exercise.
Endless movement is portal backward in time and reference point for moving forward. One section shows the artist on a mound of minerals engaged in multiple forms of choreography with a chair, investigating positions, function, and placement on the ambiguous amassed pile. Another section of footage subsequently revisits the same site three years later with the artist, chair, and a new figure, who is seen similarly wandering through the landscape. The footage holds an infinite renegotiation of the container's physical topography. Through viewing the site, one views endless recounts of both that which happened and are happening now, as a testament to the trillions of possible pasts affecting the present for as long as it's online and has viewership.
Exhibition: Zero One
Stream Gallery, Brooklyn, New York 2014
Photo stills and clip above
Advised use of headphones
Merge is an interactive website that presents a self-portrait of the artist that explores the etheric dimension of being. A beam of light follows the movement of the cursor, luminously highlighting the figure-forming an immediate contemplative, intimate relationship between the user and the subject matter. The user is invited into a highly private experience accompanied by an intense soundtrack that blends all types of sounds in chaotic concert.
Merge is a site that bequeaths viewers with the artist in an exposed state, where one is evaluating the unseen and perceived in an ominous bedroom. While the bright light emanates from the cursor point of focus, her reflection produces anarchical notes that progress into an élan of heavy breathing, screams, and hums in this composition.
The soundtrack that accompanies this website is extremely confronting and can be very loud, advised use of headphones for an intimate experience.
Basic Being 2014
Exhibition: A New Domain Suzannegeiss.net
Suzanne Geiss Gallery, New York, NY 2014
Photo still above
Basic Being is a website depicting a 360 degree -6 sided rotating cube with various video surfaces displayed on each side. The point of view for the user is placed in the center of the cube with verticals that can be moved around into different arrangements. The user can shift the space with the cursor in any direction. Turning multiple vantage points of the cube presents a rearrangement of the composition of moving image while inside the site.
One view of the footage captures adolescence girls standing in formation on the shore in a post-pubescent transformative stare. Looking out onto the horizon in mutual acknowledgment, passivity, and throwing rocks. Other views of the virtual landscape depict a dissection of the sea waves ripping at the ground beneath. The manipulation of video into a sculptural form by transforming space into something flexible and multi-dimensional is further explored in this work.
Photo stills above
Jump is a website containing footage of a landscape near the artist's place of birth in rural Michigan frequently revisited. The video is broken by Roman numerals 1-3, illustrating the passing of time and a the moment in which we presently exist. Below the video, a sentence reads "Such a state of things cannot always exist."
The site signifies the impermanence of surrounding and lends perspective on our fleeting nature. Jump examines the environment as it was then, a day in 2012. Clouds streaming across the sky, water, forest, the act simple act of swimming out, experienced within a singular moment but proposes a question for the future. This piece stands a stewardship for developing a more profound relationship with the capricious elements lost in futures to come.
secrets and lies, 2017
Cognitive Synergy 2012
Performance & Website
Exhibition 1: Next Time One Already
Triskelion Arts, Brooklyn NY 2012
Exhibition 2: Next Time Two Almost
Whitebox Art Center, New York NY 2012
Photo stills & clip above
Cognitive Synergy is a performance spanning the duration of two exhibitions that culminated into a website. Over a period of 34 days, commencing at - Next Time One Already, and concluding at - Next Time Two Almost. Cognitive Synergy took place between these two performance-based shows in New York City. C.G signified a process of detailed self-observance 24 hours a day to question and analyze of the cognitive foundations upon which we are built.
The act of performing was defined by documentation of events that took rigorous record of the artist's life experiences over a set amount of time. A myriad of tools like twitter for record of thoughts, tracking and sleep apps were habitually used and facilitated record of detailed experienced, ultimately producing a flow of constant information. Routines, dietary, supplements, and other self-realized experiments were all recorded. The objective of this rapid live self-archaeology was to reach a synergy of various elements - obscurity, urges, habit, order vs. randomness. Anything thought or felt, dreamed, was to be preserved to reach an undefined consensus externalized to the digital.
C.G aimed to question how privacy influences and impacts the psyche under a shared digital existence. In 2012, we were collectively facing what would be the dawn of the full integration of social media absorption as commonplace. A twitter handle, Existing Self - was publicly shared, acquired real followers, and anticipated the human as a pure streaming feed of data. Existing self-was, not a scripted act and could not be separated from real time. Existing self-was not the measuring/anticipating of a performance that would be presented or interpreted as documentation after the fact. It was about capturing of the present in the present - senses, emotion, experience, ultimate cognition through technology. The feed was sharing the authentic experience at 100% of my conscious aptitude and observing the complicated motivations through examination. What remains on the website from the feed is now a cylindrical poem, operated by keyboard cursors < >.
Designing a system for the self to immediately share everything publicly was more about the deconstruction of choice vs. the building of a work. The process of C.G ended in revealing an inner excavation of motivations, desire, abundant effect, and the unexpected. After 34 days of performing the results, publically presented at White Box Art Center via a live presentation. What remains on the site is an extensive collection/preservation of archived life as Existing Self, capturing the intimate to the banal from within that period of 34 days.