the collaboration between Rebecca Vaughan and Theresa Anderson
STATEMENT OF COLLABORATION
Combining the freely-formed spontaneous materials of Theresa Anderson with structured and forced materials in Rebecca Vaughan’s work, their collaborative sculptures create charged references to the figure as a site of power, desire, career identity and gender.
Theresa Anderson, whose background is in painting and drawing, utilizes everyday household objects like pantyhose, Beanie Babies, fake flowers and trashcans. Her work hypothesizes a scene where characters can possess traits of being both empowered and confronting all the while showing their compromise and supplication.
In a tangential manner, Rebecca Vaughan’s work speaks of the suffocation and concurrent ornament of figures who are composed, stand on queue and present their very best for visitors. Using structured sewing techniques, immaculately clean construction equipment and ordered found materials, Vaughan seeks to force materials into subordinance and compliance.
When interfaced, the collaborations create arguments about how one asserts control over the body and the unpredictable nature of biology and sexuality. In the case of Strut, an excruciatingly contraposto body part seeks refuge and limitation from a ladder stabilizer. In the work True Ultimate Zipless A1 Fuck, each collaborators contribution seeks a glorious freedom in a flashy fancy of movement and monument. Ultimately, the works form a conversation about the impossibility of controlling the female gender, excess and cultural hegemony.