Theresa Anderson and Rebecca Vaughan: Disco Moves (and other dumb cliches) physical hacking

PIRATE CONTEMPORARY ART

3655 NAVAJO ST  DENVER, CO 80211

 

Rebecca Vaughan and Theresa Anderson

February 21- March 9, 2014

Opening Reception Friday, February 21 from 6-10 PM

Rebecca Vaughan and Theresa Anderson’s exhibition, “Disco Moves (and other dumb clichés) Physical Hacking,” at Pirate Contemporary Art is comprised of conceptual sculptures that, parasitic and co-dependant in construction, like a figure in a landscape lean, sag, hold, drape, cover or are strapped onto pedestals. Vaughan’s elaborately scrolled and lighted objects pierce and claim territory over her father’s dismantled train set. A small suite of figurative drawings by Anderson complements the sculptures.

Similar to a kind of corporeal, mental and social hacking these new sets of works are the result of playful yet focused collaborative ritual. The artist’s performative processes where a collection of meaningful debris become both safety talisman and, similar to a psycho pomp, able to do some heavy lifting “break into and open up closed systems by changing the contexts or situation”1 of memory objects. The sculptures and drawings selected for this exhibition work together to pull apart spaces, expand contradictions, and highlight failures within self-soothing, vanity and rebellion.

Theresa Anderson, whose background is in painting and drawing, utilizes everyday household objects like pantyhose, Beanie Babies, fake flowers and trashcans. Anderson’s sculptures, much of which is based upon her study of the ceramic vessel cover unseemly objects formally hypothesizing dually opposing traits of being empowered and confrontational while showing compromise and supplication.

In a tangential manner, Vaughan’s work speaks of the suffocation and concurrent ornament of figures that are composed, stand on queue and present their very best for visitors. Vaughan seeks to force materials into subordinance and compliance. Vaughan’s lighted performative sculptures made from the deconstruction of her father’s train room parasitically claim territory, assert self as dominant by both subordinating her materials and figuratively chopping off the head of her father.

When interfaced, the two artist’s works create arguments about how one asserts control over the body and the unpredictable nature of biology and sexuality. Combining the freely formed spontaneous materials of Anderson with structured and forced materials in Vaughan’s work, the collaborative sculptures create charged references to the figure as a site of power and desire. In the case of psychedelic mushrooms/ the shape of a crotch and thighs takes cues from lopped off Greek statuary with subsequently added privacy leaves. Globular body parts dangle off of tripod with plastic leaves and a brightly luminescent-lighted pink medallion serves to both cover and highlight all the naughty bits.

Theresa Anderson is a Denver-based interdisciplinary artist and writer. Selected exhibitions and projects include First Draft, Biennial of the Americas curated by Cortney Lane Stell, Mark and Shift, master artist demonstration on drawing and exhibition of related works at the Denver Art Museum, Notes on Feeling, curated by Elissa Auther at Redline, Direct Connect, Neurotitan, Berlin, No Commercial Potential, Garage N.3 Gallery, Venice, Italy, and numerous solo exhibitions at Ironton Gallery, Firehouse Art Center, Platteforum, Ice Cube Gallery and Pirate Contemporary Art. Anderson was recently awarded a two-year Resource Artist Residency at Redline Denver.

Rebecca Vaughan received her BFA from the University of Colorado, Boulder and her MFA from Carnegie Mellon University.  She has exhibited sculptural installations, mixed media relational and conceptual projects at the Biennial of the Americas, curated by Cortney Stell, Printed Matter, New York, Centre for Art and Media, Ljubljana, Slovenia, Neurotitan Gallery, Berlin, Germany, Casa de La Cultura, Oaxaca, Mexico and Anna Leownowens Gallery, Halifax, Nova Scotia, Canada. Publications include the Chicago Art Journal and KnitKnit. Ms. Vaughan has also received state grants from the Colorado Council on the Arts and Humanities and the Ohio Arts Council as well as completing a two-year Resource Artist Residency at Redline Denver.

For further information, please contact the gallery at 303-990-0391, info@pirateartonline.org

 


1 http://www.furtherfield.org/features/articles/furtherfield-and-contemporary-art-culture-where-we-are-now

 

 

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