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Renee Ruth Ickes

Holy Water

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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Renee Ickes has created a sculptural installation consisting of a three-dimensional diorama into which one can glimpse an invented landscape (or, perhaps more accurately, dreamscape). Inside a mirrored bathroom cabinet located above a running sink, Ickes placed an angst-filled female sculptural figure emerging from an expansive blue ocean holding a garland with arms outstretched. Inspired by Dadaist Marcel Duchamp, the sink pays homage to Fountain (1917), a urinal Duchamp famously placed on a wall and called art, while the diorama itself evokes his long-term, controversial work Etant Donnés (1946-66). For the viewer keen enough to open the mirror and look inside, the installation evokes an experience that is, in the artist’s words, “sublime, terrifying, and able to transform the nature of how we understand reality.”

Curated by Heather Pesanti

When

2008

About The Artist

Renee Ickes is a visual artist and, with Eric Stern, co-owner of the Brillobox, a bar and creative venue for music, performing, and other artistic events. With melancholy and macabre undertones, her paintings, drawings, sculptures, and installations present alternate worlds where time is compressed and dreams and reality poignantly intermix.

Renee Ickes has created a sculptural installation consisting of a three-dimensional diorama into which one can glimpse an invented landscape (or, perhaps more accurately, dreamscape). Inside a mirrored bathroom cabinet located above a running sink, Ickes placed an angst-filled female sculptural figure emerging from an expansive blue ocean holding a garland with arms outstretched. Inspired by Dadaist Marcel Duchamp, the sink pays homage to Fountain (1917), a urinal Duchamp famously placed on a wall and called art, while the diorama itself evokes his long-term, controversial work Etant Donnés (1946-66). For the viewer keen enough to open the mirror and look inside, the installation evokes an experience that is, in the artist’s words, “sublime, terrifying, and able to transform the nature of how we understand reality.”

Curated by Heather Pesanti

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