Life After Love

Life After Love 2016, Courtesy of The Daily Californian

LCD video display, speakers, foam insulation, foam core, trophies, neon sign, velvet, curtains, bedding, concrete, paint, dollies, etc.

Life After Love is a sculptural sound and video work consisting of an insulated velvet lined sound chamber within an enshrinement of sports trophies and neon, in gothic spire-like arrangement. Viewers rest comfortably under a video display where they are serenaded in preparation for the afterlife by a classical violin piece preformed by Jack Boaz (formerly Charlotte Nugent) adorned in classical angelic baroque fashion. By positing Jack as a re-idealized subversion of the religious canon and classical western archetype, the work confronts issues of dominant narrative in support of a more thoughtful and inclusive vision. During the conception of the work Jack and I were living together and they had become a sort of queer spirit guide in my life. We worked together fostering a community of artists to facilitate dialogue and events at the intersections of art and music that aimed to open space for suppressed ideologies and collaborative methods of working.

While developing Life After Love (named after the Cher song), I was interested in the idea of trying to deconstruct and (literally) transcend a personal yet ubiquitous narrative of American boyhood, locker room culture, and religion. These systems play a vital role in the shaping and maintaining of dominant hegemonic structures especially in the lives adolescents. Like the bread and wine of Communion, or a trophy to commemorate victory, the work comments on the agency and efficacy of objects and ritual (sensory experience) as means to legitimize abstract thought through materialization, or actualization.