1. interested in open systems, relations between diverse discourses, in difference itself as an ultimate and irreducible element in all life, language, and thought. enjoy uncertainty, discontinuity, and ambiguity. do not wish to eliminate distinctions between for instance participant/observer, artist/critic; these divisions make up and shape culture – but enjoy when the distinctions collapse or lack an obvious cohesion.
2. inclined toward a socially contingent way of making art. contingent describes what is possible but uncertain because of unforeseen or uncontrollable factors. in other words working with others is accidental, an inadvertent meeting. this does not mean nonessential but “the happy combination of fortuitous circumstances”. there are no qualifications for entry; artist, performer, friend, next door neighbor, musician, designer, model, writer. this is not a stylistic matter but rather an unpredictable way of producing work that complicates things.
3. find collaboration, imbedding others work within my work and group efforts to be important, exciting. collaboration involves and allows for an unstable slipping between objects and ideas. the relationships amid arrangements; connecting, paralleling, formal, conceptual, and emotional elements [in which parts continually refer to other parts… without closure, without beginning or end]
4. …a sprawling volatile interesting mess, hardly discrete or manageable.
5. wolves for conformity – is a collection of separates.
the concentration for this collection is a production of objects that ride the line between couture and ready-to-wear; the mass produced item vs. the authentic, unique or one of a kind item. interests lie in the shifting ambiguous relationships between the two in both art and fashion. each garment in this collection is always a copy or derivation of another garment and yet is an original. many are made from the same pattern but dipped, airbrushed and stitched differently and singly. think of each individual piece as a couture garment; pirated, copied, and masquerading as an original of it-self.
6. these garments are not necessarily sold commercially but are pieces Of and Through another ongoing project - dawn dresses. the relationship between consumer and art protocol is problematic; permanently unstable or reverberating blips or interference.
7. dawn dresses is dressing others. this has taken the form of photo, installation, sculpture, event and many kinds of performance. although often, but not necessarily, it involves dressing in terms of the body. this project is in constant flux. it is a continuous exploit of the polymorphic identity. there is no authentic identity. the self is a hybrid of irreconcilable elements which coexist.
8. dress is a public expression of social class, identity, sexual leanings, but also gives form to personal fantasies of potential and the need to transgress with respect to assigned roles. clothing is a mask, a façade. the fluidity of signs in the language of dress facilitates shifting and simulation, pretending and disguise.
9. any true public self on offer or display is a masked one. in assuming different personas, different masks, oscillating and varying between alternate archetypes in the cultural landscape, one experiences being different things at different times to suit one’s purpose and pleasures. there is no true accountable self. the self is a negotiable entity, a bargain of sorts.
10. excess is not only a means of subversion, it is joyful sex.