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Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Artist Parent Index
Person
An individual.
Website
The Artist's website
<a href="http://www.staceystormes.com" target="_blank" rel="noopener">www.staceystormes.com</a>www.staceystormes.com
Topic
motherhood
familial bonds
Medium
interdisciplinary
video
new media
photography
Artist Statement
I’m captivated by solid visual metaphor, drawn to those images that waver between pulling the viewer close and pushing them away, entranced by what happens to a performance grounded in the body once translated to the virtual, beguiled by precise mistakes. These are the contradictions that frame my work. In my early videos, I played with ways to muck up the footage: exporting at low frame rates and splicing back into higher quality footage, dropping frames, scan rescan techniques time displacement... Inspired by Jonas and Paik, I was interested in taking pristine footage, really trashing in precisely controlled ways, exploring how mediation through video and web translate presence, struggling with embodiment in the digital trace, finding intersections between performance to the camera and performance in the edit. As a natural progression, my current work delves into glitch processes.
Recalling Vertical Roll and Man with a Movie Camera, my recent Performance with Cameras turns camera lenses on each. A revisitation of my earlier work, Mediated Confines, I perform for the camera and perhaps random passersby outside. Reflecting what I see outside through my movement, the performance is presented mostly as a reflection as well, captured on the surface of the camera lens, which is then recorded by a facing camera. The footage gets analogue layered and distorted through a wobulator, then layered further through frame buffering. This feedback loop explores relationships of media, (female) body, environment, and process.
In Chou Chou I explore intersections between motherhood and working artist. A French term of endearment that translates to “cabbage cabbage,” “chou chou,” also sounds pleasingly similar to soothing shooshes. Cabbage leaves are an anti-lactant, a home remedy for swelling and pain of achy lactating breasts, one I have employed on numerous occasions to allay the physical pain of separation known by breastfeeding mothers who must travel without their child. These multiple contexts for cabbage intersect to create an apt metaphor for the sometimes-challenging balance of caring for both child and self. I appear with a constructed head of cabbage as my own, slowly rocking an absent baby, poorly singing softly a half remembered lullaby in a round mirrored by a heavy build of layers of video.
This obfuscation of the head is something that repeats in my work, a motif reminiscent of Magritte’s The Lovers and the Surrealist’s exploration of the subconscious. For me, it’s psyche overwhelming physical, embodiment of desires and anxieties.
In Plastic Ok? I adopt the plastic bag as a metaphor for consumption’s effects on the environment. A direct response to the Deepwater Horizon oil spill and it’s lasting impact, the video documents my struggle to breath and escape from a barrage of at least 100 plastic bags covering my head. The viewers are denied total release as the video employs jump-cuts and variations of loop: a repeating sort of da capo al coda. It’s an endurance test of the viewer similar to that of my own in performance. The work is open-ended in hopes to outlast the viewer by employing a disguised loop-point and continuous loop.
Often I edit frame-by-frame painstakingly advancing with the keyboard arrows to root out any errant less than perfect frame thereby creating imperfections: heavily employing jump-cuts and frame displacement. The performance for the camera is only the raw material for the final product, little different than inks in the serigraph process. The editing process extends the performance as I create Fluxus-like structures and formal frameworks for the edit that I perform as process scores. These oddly satisfying elements of play (like inserting quick edits solely in increments of prime numbers) are integral to the editing process and final result even if imperceptible.
While making work I’m always thinking of Ludwig Mies van der Rohe’s assertion, “God is in the details.” To me this is not only a reminder that nothing that does not belong goes in the frame and everything in the frame has meaning. It also means even the smallest decision from initial spark through exhibition has value, and that every step of process and layer of concept shapes form.
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Contributor
An entity responsible for making contributions to the resource
Stacey Stormes
Title
A name given to the resource
Stacey Stormes
familial bonds
interdisciplinary
motherhood
new media
photography
video
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https://artistparentindex.com/files/original/84e0ff278b8395c280a289428f312b63.jpg
2122e9ade778c4bdfb321a6778441cc3
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Artist Parent Index
Person
An individual.
Website
The Artist's website
<a href="http://www.ahreelee.com" target="_blank" rel="noopener">www.ahreelee.com</a>
Medium
video
new media
textiles
Location
The location of the interview
Los Angeles
California
USA
Artist Statement
In the fall of 2018, I kept track of what I was doing all day long in a spreadsheet. Each activity I<br />assigned to one of half a dozen different categories, including child care, housework, art<br />practice, and sleep. I picked one week of that time period and during the course of my artist<br />residency at the Women’s Center for Creative Work in Los Angeles, turned it into Timesheet:<br />November 4–10, 2018, a work comprising seven weavings, one representing each day of that<br />week. I wove it during weekly studio hours, on my floor loom that I moved into the space for the<br />exhibition. By giving these ephemeral activities form through my weaving, I have created an<br />analog data visualization of invisible and undervalued domestic labor and transformed it into an<br />artwork with monetary and cultural value.
Topic
parenting
caretaking
caregiving
quantified self
weaving
textiles
fiber
labor
domestic labor
domestic
time
data visualization
tracking
visualization
capitalism
technology
industrialization
value
repetition
Exhibitions
Exhibitions in the Index that an artist has participated in. The two entries will be linked.
Pattern : Code, Women’s Center for Creative Work, Los Angeles, California. 2019
We Are Here, USC Pacific Asia Museum, Pasadena, California. 2020
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Ahree Lee
California
capitalism
caregiving
caretaking
data visualization
domestic labor
domestic time
fiber
industrialization
labor
Los Angeles
new media
parenting
quantified self
repetition
technology
textiles
tracking
USA
value
video
visualization
weaving textiles
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https://artistparentindex.com/files/original/6a5b3c63539bb6a4426ef547e21903ce.jpg
2fe7a6ab781d8b9f9c3a5254552f4d02
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Artist Parent Index
Person
An individual.
Website
The Artist's website
<p class="p1"><a href="jesstaylorartist.com" target="_blank" rel="noopener">jesstaylorartist.com</a></p>
Medium
sculpture
new media
Location
The location of the interview
Adelaide
Australia
Artist Statement
<p class="p1">I am an early career artist whose practice explores my fascination with fictional horror through primarily digital methods of making. Within the broader realm of horror, I have a particular interest in monsters, voyeurism, and depictions of female brutality, sadism, and masochism. Using my own image and body exclusively, my work presents versions of womanhood that transgress the bounds of what we are taught is acceptable, uncanny spectres of female experience that society is keen to repress. Here, monstrosity is configured as a source of damnation and agency, reflecting womanhood as complex and contradictory.</p>
<p class="p2"></p>
<p class="p3">My own experience as a mother has been one of profound contradiction, of exhilarating highs and profound lows, of love and fury, comfort and trauma. I struggle to reconcile the fact that the greatest time in my life is also the one when it was the darkest, and that my body birthed a miracle but feels like a ruin. I am not as I was, but not quite sure what I am now; I’ve yet to turn into anything resembling the gargantuan mother archetype we’re fed, and too much of the old Jess remains for me to consider myself someone new. I have been transformed, reborn, reconfigured using the old parts. Some days those new parts feel like they were made of steel, making me infinitely stronger than I was, and other days that steel bites into my flesh, broken limbs fused back together suddenly failing to bear my weight.</p>
<p class="p4"></p>
<p class="p3">Motherhood is a monstrous condition; it is incredible and disturbing, beautiful and completely fucked up. Like monstrosity, it is transformative, and for the woman-monster, this transformation is a source of both agency and damnation, strength and weakness. My work since my son is in part an attempt to reconcile the contradiction inherent in my own experience of motherhood, and to bridge the divide between what I am and what we are told a mother should be.</p>
<p class="p3">Experiencing pregnancy for the second time has greatly influenced my work, causing me to reflect much more closely on the process of bearing a child. There is the strange bodily awareness and attempts to reconcile this cavernous space that exists within me, and evocations of my own paranoias as I imagine this space as a place of both hope and doom. I like to think there is also some absurdity when one looks at a ridiculous, bulbous woman, or my lady-giants, but there is also the tenderness of the nets that keep the babies close to her body, or the way a stomach is opened up to sate the curiosity of the smaller figures who peer inside. There is the sorrow of the figure on the bridge as she surveys the fallen before her (a mediation on periods in history where the practice of fallen-mothers ending their lives and the lives of their offspring was not only a grim expectation, but an act of redemption), and my attempt to see a ruin as a place of beauty and life.</p>
Topic
abjection
ambivalence
anger
anxiety
artist mother
attachment
autonomy
bad mother
birth
birth trauma
body transformation
boundaries
childbirth
contemporary
contemporary art practice
contradictions
domestic
family ties
female experience
female sexuality
feminine
femininity
feminism
feminist
feminist art
feminist art theory
fertility
grotesque
growth
guilt
identity
loneliness
longing
loss
loss of identity
maternal ambivalence
maternal anxiety
maternal body
maternal desire
maternal experience
maternal fear
maternal guilt
mother
mother artist
motherhood
postpartum body
pregnancy
pregnant body
psychoanalysis
representation
science fiction
self portrait
technology
trauma
voyeurism
womb
women
Dublin Core
The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.
Title
A name given to the resource
Jess Taylor
abjection
ambivalence
anger
anxiety
artist mother
attachment
Australia
autonomy
bad mother
birth
birth trauma
body transformation
boundaries
childbirth
contemporary art
contemporary art practice
contradictions
domestic
family ties
female experience
female sexuality
feminine
femininity
feminism
feminist
feminist art
feminist art theory
feminist theory
fertility
grotesque
growth
guilt
identity
loneliness
longing
loss
loss of identity
maternal
maternal ambivalence
maternal anxiety
maternal bodies
maternal body
maternal desire
maternal experience
maternal fear
maternal guilt
mother
mother artist
motherhood
new media
postpartum body
pregnancy
pregnant body
psychoanalysis
representation
science fiction
sculpture
self portrait
technology
trauma
voyeurism
womb
women