This play is a reflection on the (im)possibility of accepting diversity and the other. The fragmented body of the neoplasm—the fruit of unstable conditions—overcomes barriers, loves and denies itself and others, wanders around, forgetting its profession. It frequently and with pleasure divides, goes through dangerous palpation, questions the possibility of contact with the experience of the other. Poorly brought up but very successful, it invites us to a trans-species transition.
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Mounted at regular intervals on the brick walls, identically sized black and white photographs permanently document 44 "installations." In preparation, the artist photographed the empty galleries from many angles. Using those prints as settings, she pieced together installations and performances from fragments of other photographs, torn paper, matches, pebbles, wire, clay, and her own body. She re-photographed her fictional installations and documented them with 6" x 9" prints.
Artist Statement
Since people tend to believe a photograph, I presented photo documents of 44 fictitious installations and performances that "occurred" at the Mattress Factory. I photographed the galleries, empty, "installed" objects, and other photos onto the prints of the empty galleries then photographed these "installations." I then exhibited the portfolio of bogus installations in the same galleries that I originally photographed empty.
When
1982
Diane Samuels received both her BFA and MFA from Carnegie Mellon University. She has a Diploma from Harvard University, Institute in Arts Administration. She is a Visual Artist who uses other people's words to create her work.
