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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Artist Statement
Over the course of several days, I felt my way through Winifred Lutz’s Garden here at the Mattress Factory. While wearing work gloves, I ran my hands over the brick, stone, concrete, rusted metal, boulders, crevices, grasses, trees, and other plants. I also made rubbings of 2 sitting places in the Garden. I covered both the chair and the boulder in paper, then, burnished the paper with my hands and a spoon, forming the paper to each object. I used a pencil and a soft cloth to spread the graphite, making the underlying textures visible. Both the gloves and the paper absorb and record my experience of the space. The surfaces are transferred to the paper and gloves, in all their irregularities and history. My interest is in how drawing can acknowledge the residual effects of everyday activities while offering a set of parallel sensations. I want to imagine mark making (and art in general) as something that happens as a result of how I take in the world around me.
When
2009
Kate Joranson’s work acknowledges the residual effects of everyday activities, such as running one’s hand along a wall, or sweeping the floor, as a source for mark-making and a record of one’s experience. She received her MFA from Ohio State University, and works as a librarian and adjunct art faculty in Pittsburgh, PA.
