My Own Glorious Retrospective (2013-2014)
Last week, a magazine published by the art school I attended arrived in the mail bearing news and highlights of various exhibitions including this upcoming BFA show:
“…[the artist] draws on the paradox of simultaneous hypervisibility and invisibility within critical race theory and her own lived experience as a “brown femme queer woman occupying the deviant body of the ‘other.'” Through a combination of video, photo, sculpture, and installation, she explores the construction of the other by responding to the imagery of a “standardized body” enforced by capital-driven industries.”
I’ve never been clever enough to write such
incomprehensible intellectual descriptions of my own work and processes. And I’m not trying to bash my fellow artists here, it’s just… WHAT?
[the artists] collaborate to present Womb, a large-scale 3D animation with the sound developed to incite a dialogue about the connection between digital bodies and human emotion. Drawing from reality to fabricate an invented one, the content and installation of the animation emulates the interior of the human body while the sound element is modulated live based on the vibrations traveling through the physical gallery space. The exhibition creates a metaphysical loop that evokes the human desire to return to the womb.”
Do you have a desire to return to the womb?
I think it’s time I had a retrospective of my own. Since I don’t feel like waiting for the invitation from a major gallery or museum to arrive,* I think I’ll do it here, myself. And I think it will be much more efficient to
plagiarize appropriate text from my art school magazine than to come up with my own pretentious third-person drivel descriptive prose. So, enjoy (and you’re welcome).
Laura Bruzzese: My Art, My Womb: Art Returning to My Womb: The Retrospective (2013-2014)
Biodegradable Funerary Urns contend with themes of death. The works emphasize mortality, and the process of creation and display to honor departed loved ones and defy traditional commercial funerary practices that rely on the underpaid labor of brown people in other parts of the world to satisfy the traditional 400% industry mark-up.
Sustainable, affordable, non-toxic, and fair-trade, Biodegradable Funerary Urns allow families to explore nuances of death, celebration, and impermanence for several seconds before they (the urns) sink to the ocean floor and eventually disintegrate or are consumed by sea life, thereby expanding Biodegradable Funerary Urns into a collaboration with ourselves.
Botanical Motif Ceramics are inspired by garden life. “One time I took a Plant & Animal Illustration class at art school. It’s been pretty useful.” –Laura Bruzzese
The Screaming Toad™ series investigates the complex layers of selfhood and phony trademark usage in the context of taxonomic background, breeding preference, and personal displacement. Simultaneously satirical and sincere, the works operate in paradox: both seductive and foreboding, they are embedded with the politics of hearing and being heard, loving and being loved — among ourselves, amphibians and unsuspecting neighbors.
Recent praise for Toad Love™ mugs: “My coffee will never be the same.” –Bob
The critically-acclaimed Jumpy draws from reality to fabricate an invented one, creating a metaphysical loop that evokes the insatiable desire of gallus domesticus to eat grapes.
Dia de los Muertos works: “As we artists living [in] Nu[evo] Mexico like to [say], ‘Put a skull on [it] and it will sell… [H]ear[t]s too…'” –Laura [Bruzzese]
Bruzzese has recently extended her masterful range of talents to collaborate with world-renowned wildlife photographer and one of her personal heroes, Nick Brandt.
Although Mr. Brandt has no idea Ms. Bruzzese exists, that might change when his Big Life Foundation receives the first of (hopefully) many donations from the sale of Elephant wares in her Etsy shop. These works espouse hyperbole, creating confusion around lines drawn between “us” and “them,” ignoring categorical limitations of cross-species empathy, innocence, and exploration of permanence: extinction vs. human greed vs. stupidity vs. inexpensive decals.
In Buy My Kid’s Crap, Ms. Bruzzese expanded her internet-based multi-media work beyond Etsy into the wider and more depraved ebay auction audience, examining our relationship with the material world as both a container for, and disposable manifestation of, our childhoods. The ebay store was itself the artwork, including the carefully written item descriptions (more valuable than the objects for sale) as well as marketing materials. This graphic was printed on 6″ x 4″ gold leaf tickets and included with each sold auction item, forcing the recipients to contemplate the implications of “winning,” “admittance,” and the responsibilities of possession/consumerism, while simultaneously suggesting that Bruzzese is, perhaps, insane.
Guest Lecture: Rufina
Seeking The Essence of Womb
Friday, March 12, 2014, 2pm
Rufina is recognized as one of the major figures in the artist’s back yard. For more than two years she has been discerning boundaries between industrial sounds and wilderness sound environments, proposing a blind, profound, and transcendental listening freed from the imperatives of knowledge and open to sensory and spiritual expansion. She will present this lecture as performance, a series of movements informed by the unique perspective that only an eyeless, overweight chicken engaged in a largely sedentary life might render. Free and open to the public.