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In the top corner there is a photo of a woman dragging a canvas. One word stands out from the notes: Something about the work feels like evidence; I have the impression that a fingerprint or a shoe indent could be lifted for further clues as to what has happened here.

At the same time I am taken by the softness of the images and the subtleties of the colors.

In the corner tonght makeshift tools — constructions made of cardboard, holding rocks. The work feels performative, and when I inquire she describes a process of making that balances performance and painting.

I find myself thinking of the actual weight of dragging any object, or burden, behind me. She highlights the illogical aspects of feeling shame, Lets make our own Livingston quake tonight also recognizing her strange newfound power of being able to turn on the emotion.

Overall, the peculiar act of dragging a painting Lrts oneself in public seems to stir something excitingly forbidden and subconscious. When I moved to Seattle.

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When I was in New York I was working in advertising. But I started taking classes at the community college and I met some people who were taking classes and we asked one artist to do a class with us for a couple years, and that worked out really well. And then I went to graduate school after doing that for about five years.

The first dragged painting happened because I wanted to do some mending. I needed something broken that needed mending.

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I took a little painting and wrapped a little rope around it and dragged it down the street and came back. I went about as far as you walk a dog, you know that last walk before you go to bed, not that far, just down and back.

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But when I came back in and I turned the painting over, I realized that that was more interested than any mending I could do.

Amke was somehow really compelling to just have the simplicity of that mark, of the dragging. I think eventually I will rewire my brain to not experience that shame.

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I mean, I read an interview with Adrian Piper and that is what she said about her experiences with her performances, that walking around with a big gob of gum on her face allowed her to eventually become un-affected by that.

I have for several years been at the edges of things, with the work I was making before, when I was making sculptures out of paint, it was like a combination of painting and sculpture.

And so it feels… natural, I guess is the word, to have the performance and painting butting up against each other. It always felt like documentation.

But it feels different.

I built the harness based on the harnesses that bodybuilders use, Sex horny mums Petah tiqwa drag weights. The rocks increase male weight and Lets make our own Livingston quake tonight friction on the surface of the painting, so that it wears out and makes holes in the surface.

You can see the ink on my floor. I was curious how the different rocks make different kinds of abrasions on the drawings. Sometimes I drag it from the side. The first process I tried was kind of like drypoint, dragging the plate raw and printing that.

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A friend of mine used to work at a print studio down in Tampa, I think it was, and he showed me how to do viscosity prints, where you can print two colors Lets make our own Livingston quake tonight the plate at the same time. You rub a thick color into the plate and then wipe it and then roll a looser ink on the top and get this merging of the two kinds of ink on the print.

Well, yes, it is important for them to know. There is a part about being a woman in public that feels important.

At the same time, I was making fake wood out of paint, by rolling the sheets of paint into what looks like a log and cutting against that to make what looks like fake wood grain. I did Lets make our own Livingston quake tonight lot of collaging.

Even when I was doing it I would say, oh well, this could really just be a canvas, but because I was in this transition from making objects with paint, I felt compelled to use the paint as canvas.

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I guess mood or sensation draws me to the colors. No other real logical reason. I did a series of works that were based on a seventeen-pallete Pucci dress. I made a big log cabin.

And it was in the palette Lets make our own Livingston quake tonight the Pucci dress. Yeah, I was bored.

Because I have the video, I have the dragged oir and the dragged paintings and the dragged prints and I just started the dragged sketchbook. And asking myself that question, you know, where does that production happen?

And then the drawing flies off the table on both ends and I pull it up these little ramps.

Of course, thank you for coming! Cable Griffith Landscape in Seattle: To use content beyond the scope of this license, permission is required.

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Debbi KenoteinterviewStudio visit. Your email address will not be published. Leave a Reply Cancel reply Your email address will not be published. Sahana Ramakrishnan, Atlas Discussion Print project in Bushwick this weekend.