i can never decided if referring to myself as tentacle-made studios is weird or not, but here we are. i’m ‘trie blasingame, and i am tentacle-made studios.
and this is a, well, more-or-less comprehensive portfolio of my work categorized and organized in potentially weird ways.
and, because artist statements must be everywhere, my artist statement (right now):
I deal in fairytales—narratives that imply danger, that are kawaii, that are mythic, that are childhood, Visual Culture, and history all tied up together.
I like words, and words lead to images, lead to embodiment, lead to affected space(s) and place(s).
I like to explore through art that which is often explored but rarely acknowledged that it is explored—identity, alterity, and self-construction—which are approached through self-consciously constructed narratives: the little stories that we tell everyday of which we, each, are the heroes.
My work interrogates the arbitrary paradigms of so-called “high” and “low” culture through alterity while utilizing “craft” techniques and popular culture references to create hypervalent meta-texts, which are some of the most important facets to understanding our own culture(s) and other people’s culture(s) that we have in the 21st century, and in the extension of that Visual Culture literacy as Participatory Culture (i.e., fandom), the works that are created by Participatory Culture participants are a vital interaction and rewriting and reinterpreting the “reality” that media presents to us and converting it into a reality that reflects lived experience and are essentially Participatory Culture products that have taken a religioso and/or curio bent as a reflection of the worship that is often (mis)placed in the false realities and representations that media presents to us.
Which also extends to the objects that we create and consume, and I am interested in those objects, and what happens when they are decontextualized and recontextualized so that they have new, different, strange meanings—the Uncanny run-amok with a side of kitsch—as well as what happens with these new meanings which are informed not just by culturally specific semiotics but also with the playing of formal/not-formal form, color, and shape.