Madison Museum of Contemporary Art (MMoCA) Triennial submission

So, yeah, I just did my submission of the MMoCA Triennial submission, and I’m kinda freaking out.

…yes, I do realize that I freak out–internet-publicly via void-screaming–most of the time.  Sorry-not-sorry.

It’s a thing; I’ll stop someday.

Maybe.

Who am I kidding?

So–whatever–submission.  This is what I submitted.  Now with headcanon!

spindle’s work, Zellandine’s denouement: Echo
2012
copper wire, plastic-coated electronics wire, jewelry wire, silk and stainless steel yarn
Katrina (‘Trie) Blasingame

heacanon:  Utilizing Tuttle’s idea of “shadow sketches,” Echo doubles the mythological figure of Echo and the visual culture character Echo from Dollhouse to bring the idea of shadow-selves forward and to emphasize the myriad of selves that we each have and (re)present depending upon time, place, and circumstance that come from that same central place of self no matter the societal or cultural impositions.

spindle’s work, Zellandine’s denouement: fairy forest
2012
handspun yarn, fairylights
Katrina (‘Trie) Blasingame

headcanon:  Fairytales are always about that which is seen and unseen, that which can become manifest with just the right circumstance, just the right nudge.  fairy forest works with that idea and illustrates it through the change that the piece undertakes via the absence and presence of light, both exterior and interior.

spindle’s work, Zellandine’s denouement: The Wolf-Prince
2012
handspun yarn, plastic-coated electronics wire, copper
Katrina (‘Trie) Blasingame

headcanon:  The Wolf-Prince references the ubiquitous “wolf” (i.e., beast-form) characters in fairytales as well as placing the idea of idealized “prince” into question.  Additionally, The Wolf-Prince references a number of characters from visual culture:  Oz from Buffy the Vampire Slayer, Rory from Doctor Who, Derek Hale from Teen Wolf, anything and everything from Game of Thrones, and so on.  By referencing these vastly different characters in difference ways, the paradigm of the beast and the prince is problematized.

spindle’s work, Zellandine’s denouement: The Ur-Prince
2012
plastic-coated electronics wire, copper wire
Katrina (‘Trie) Blasingame

 

headcanon:  Anthropologically, “Ur” is used as an indication of “original” or “primordial;” additionally, Ur was also the first city of Sumeria.  The Ur-Prince draws upon this ideas, these references, to negotiate the ubiquity of the prince-figure in fairytales and how the prince is largely an incidental figure whose agency wears ruts in the surface of the tale, yet in the decision to represent the prince as useless, purely ornamental armor, there is hope and shadowing of the new “princes” who have begun to crop up via (post)post-modern fairytales like Once Upon a Time and Grimm.

spindle’s work, Zellandine’s denouement: Kore-Persephone
2012
handspun yarn, plastic-coated electronics wire, copper wire, copper
Katrina (‘Trie) Blasingame

 

headcanon:  For me, the story of Kore-Persephone is the origin site of all fairytales, is the discursive space in which we can see how all the strength of the feminine was appropriated, changed, and buried by the assertion of masculine whims:  Persephone’s original Minion ferocity subsumed and subordinated by Doric invasion and assimilation.  The story of Kore-Persephone, as we know it now, is the story of most fairytales with its juxtaposition of opposites that really aren’t opposites and transformations that really aren’t transformations:  death stealing life and life changing death; shy maiden to powerful queen; cruelty begetting mercy; the conquered becoming the conqueror.

Yep.  That was my submission.  What do y’all think?

Courage.

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