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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At the center of the room is a drywall construction that resembles a child's playhouse. One can see a view of the interior through the top half of the Dutch door. The inside of the door is papered with color photocopies of a bathtub murder. On the walls are illustrations from Popular Mechanics, which show a father teaching his son house to build something. Juxtaposed with this image is a photograph of a woman smothering a man while she talks on the telephone. White pillows have been stuffed inside both the windows and the chimney of the house.
Artist Statement
In my work I employ cinematic, architectural, psychological and theatrical structures as a construct to approach the tension that holds together the uncertainty of feeling and the certainty of thoughts. The aim is toward an enlarged sensitivity that makes more apparent the differences between “seeming” and “being”… The stimulus is to produce an aggregate play acting along spontaneous lines where everyday context becomes a “scene” or tableau.
When
1991
Patty Martori was a student at the San Francisco Art Institute and the Yale School of Art. She lives and works in New York. Her work, which belongs fully to the Post-Modern American movement, denounces the imprint of the patriarchal figure in the group and individual lives of women, a theme she attempts to isolate and emphasize in her art.
