Shedding Walls was initiated with the intention of improving a specific space that would directly affect the surrounding community. For years, the insulation inside of the Shed Gallery at California State University, Northridge, was left exposed, so when students showed their work, the unfinished walls created an eyesore and took away from the work. I spent approximately $1,000 on all the materials before the start of the show and started building at the beginning of my opening day.
Multiple layers of content unfolded through the duration of this interactive performance. The authenticity in a prosaic action like constructing walls embodied a sense of honesty and integrity. As viewers came by to see the show, they were invited in and welcomed to participate. Together, we were objectifying the action of improving a site specific space with the art community for the art community. In the process, our senses were awakened in that specific moment as we thought logically and instinctively to trouble shoot the construction of these materials. This commonly artificial space was unified with the real space in which people interact in order to accomplish a specific goal. The bureaucracy of an institution became apparent when the university's maintenance department got wind of the project. The show was nearly shut down due to university construction codes. The construction within the context of the gallery space exploited a loophole within the regulations and we were allowed to continue.
The work has a life after the performance and completes the idea essential to its original intent. As other artists in the community use the space after my show and benefit from the collaborative action, my piece is completed. The result of all the labor is essentially invisible but the relationships and human energy created during the process will live on.
After my show, the head of maintenance directed the art department to tear down the extended walls. The university has never invested in replacing them to this day.
2012.
Multiple layers of content unfolded through the duration of this interactive performance. The authenticity in a prosaic action like constructing walls embodied a sense of honesty and integrity. As viewers came by to see the show, they were invited in and welcomed to participate. Together, we were objectifying the action of improving a site specific space with the art community for the art community. In the process, our senses were awakened in that specific moment as we thought logically and instinctively to trouble shoot the construction of these materials. This commonly artificial space was unified with the real space in which people interact in order to accomplish a specific goal. The bureaucracy of an institution became apparent when the university's maintenance department got wind of the project. The show was nearly shut down due to university construction codes. The construction within the context of the gallery space exploited a loophole within the regulations and we were allowed to continue.
The work has a life after the performance and completes the idea essential to its original intent. As other artists in the community use the space after my show and benefit from the collaborative action, my piece is completed. The result of all the labor is essentially invisible but the relationships and human energy created during the process will live on.
After my show, the head of maintenance directed the art department to tear down the extended walls. The university has never invested in replacing them to this day.
2012.
