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Featured Artist: Insa Kromminga

Artist Statement
The idea of a fluent identity and a fluent body versus the fixed state of classifications is a very important part in my work. On one hand, there is the fascination and longing for order structures (represented by rhythm, symmetry, repetition, perfection), that allow to classify and to belong. On the other hand, there is understanding of the constructed nature of an order system that with its codes, mechanics and boundaries tries to stabilize its status quo, and thus creates the abjected, the failures to the norm.

GYRL -Installation 2
4' X 8' Mirrors, Latex Enamel on Mesonite 2002
No Girl
4" X 6" pencil,
watercolor on paper
2002
The Complex, The Diffuse, The Becoming (Installationview) each 9" X 12" Pencil, Watercolor,mixed media on paper 2002
The Complex, The Diffuse, The Becoming - Detail 10" X 13" pencil, watercolor on paper 2002 Event Horizon, Untitled, Young Lady apprx. 13" X 36" Pencil, Watercolor,Charcoal, Mixed Media on Paper 2002

These boundaries are an arbitrary construction and hidden under the spell ofa false naturalization: it is not only "true", that humans come in two opposite sexes, it is "natural". And to make the paradigm work, the obvious presence of difference and diversity is degraded as deviance, diseased, anomaly,and unnatural. Not too long ago, homosexuality was considered mental hermaphroditism, and treated as a mental disorder, as there is still a condition called GID-Gender Identity Disorder.

Controlling nature, taming nature's abundance of variation and classifying it into "better forms" and the "abnormal" is part of culture's task to create the feeling of security and safety.

Untitled / Androgynous Mind each 9" X 13" Pencil, Watercolor, Gesso on paper 2002


Hide And Seek, Celled Self
apprx. 15" X 33" Mixed Media on Paper 2002
Installation 3 - Detail (Boy™, Head of the Beast) Drawings, Walldrawing (Charcoal) 2002

--- 7" X 5" pencil on paper 2002

You Mean Like Dick AND Cunt? 15" X 15" each Charcoal on paper 2002
By automatically setting the boundaries, it defines everything beyond or outside this safety zone as the 'other',the stranger, the monster. To pathologize everything that does not conform is a way to place it within the boundaries of a system and deny a "third element".
The Complex, The Diffuse, The Becoming each 9" X 13" Pencil, Watercolor, Mixed Media on Paper 2002 Untitled, Wolf in Sheeps Clothing (Leo), Chemistry apprx. 4" X 8" / 5" X 6" / 3" X 3" Pencil, Watercolor, Mixed Media on board 2002 Y-Sandale apprx. 8" X 8" pencil on paper 2002 Fleur Du Mal 10" X 13" each pencil, watercolor on paper 2001 Le Genre Humain 10" X 13" pencil, watercolor on paper 2002

What I hope to achieve in presenting my work in the form of an installation (as the one in my MFA Exhibition) is introducing this "Third" element that occurs by layering and puzzling the contradictionary elements of "order" (man-made systems of classification) and "chaos" (nature's abundance and playful variations).

 
Scrutinizing 8" X 10" pencil, watercolor on paper 2002 What Cells, Zir Garden - Installation view 2002 Untitled, Three, Blush 12" X 23" Pencil, Watercolor, Acrylic Crayon, Blood on paper 2002 Wheels 10" X 13" pencil, watercolor on paper 2002  

The complexity of possibilities, chance and abundance, mutation as nature's game for new solutions, all these are beyond the reach of any simplification or generalization, and therefore outside or on the verge of crossing the boundaries of a fixed system. This is the "third element", the ever unclassifiable moment, which carries in its meaning the incorporated complexity of all things: it is not a "new" special localization, which again would be an exclusive attempt (though naming these locations might be inevitable) but promotes the idea of "difference in sameness". As already known and applied in computer science, physics and art (multiple contradictory answers, uncertainty, intuition), the concept of a third element, a logic beyond the binary, opens up new approaches in comprehending mechanics of order and its lacking of inclusiveness.

It also is plays a part in the process of creating art, the inclusion of uncertainty and intuition, where the personal and the empathizing view turns public and political.

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