Assignment 3 - Case -Study Transcripts

This assignment consists of two case-studies on artists working with installation and performance art. The following transcripts are primary source interviews conducted via email and used to write my essay. I posed a number of questions and received the answers back via text and voice recording.


Voice recording from interview with artist Angela Wooi:



Question 1:

At your recent Pie Factory exhibition the Planet Pussy textile sculptures of vagina and penis were elaborate and intricate. The colourful fabrics, textures and shapes drew the viewer in closer. Some of them were interactive, involving chopsticks for delving deeper and pins for piercing/decorating. How important is interactivity between the viewer and your pieces to you as an artist?



Wooi Q1 from ammoniteM on Vimeo.




Question 2:

There is a strong sense of playfulness and subversion in your work. Do you use these two techniques together to purposefully challenge the viewer to ask questions around cultural assumptions of femininity and the patriarchy?



Wooi Q2 from ammoniteM on Vimeo.





Question 3: No response.



Question 4:

How do you approach making art? Please describe your working practice and how a new idea evolves into a finished piece.



Wooi Q4 from ammoniteM on Vimeo.




Question 5:

As a practising artist it is important to network and collaborate with fellow artists. How do you balance the process of promotion, networking and collaboration, considering that it can take time away from making work?



Wooi Q5 from ammoniteM on Vimeo.





Transcript from interview with Michael Johnstone & David Faulks (Verasphere).


I watched the documentary 'Verasphere: A Love Story in Costume' and I was struck by the beautiful nature of a collaboration which began under such difficult circumstances for you both. As I understand this began with the Mrs.Vera's Day Book series in the early 1990's and has evolved into Verasphere with many participants at SF Pride. Do you both also work on individual art projects or has Verasphere become all consuming in your lives?

Michael: I currently am between putting together my archive additions for the Hormel Lgbtq Arhivr thst we have ,and ing work on some photography motion graphics and small video projects.

David ( Mrs.Vera) however has found the Verasphere to be all consuming to a point .

Artists work in context of having a studio: 

David definitely painted more when we had a dedicated art studio .

We had an art work  space for about 10 years.

david would show paintings ,I would show more of my series related photography , Mrs. Vera's Daybook photo series ,other subjects at other times naive yards ,roadside attraction series .we also put the costumes on mannequins which took me forever to convince david to O’Donnell because he viewed it as "craft" 

But also as Verasphere has organically grown ,in the past 3-4 years especially ,we find more and more time going to preparation ,planning ,securing temporary workspaces for our weekend diy workshops .as well as handling an ever growing costume bank that is now basically a large storage container . Scheduling fittings so it had become quite all consuming .Yet the Verasphere has many people willing to help us .

It is a kind of very small scale social experiment .

How many can we dress and get out to a parade as a huge group and still keep the personal sense of joy for each and all.

The Verasphere aesthetic seems to me to have a vibrant pop culture/space alien vibe. What are both your influences in this respect?

for me it is silly clothing , art plastic ,vibrant colors and the "toy" like aaspects of the costumes that make me laugh out loud .if it makes me laugh it is a contender for the base of a hat ,shoes ,gloves ,a skirt .

Ait adds to that visage as if we were fro some strange new version of midsummer nights dream ,or a circus .Yayoi Kusama ,has been someone who's work I have followed for some time ,her sense of color and the almost craft like repetition.recurring themes .dots etc. (as fo my Daybook series ,influences are Duane Michals ,Arthur Tress ,Deborah Turbeville ,Brassai,and many more )

Re costume materials my particular bent for the plastic started as I found more and more discarded items that I would think ,hmm,turn it into a hat .

For David it is purely a matter of putting things together,lately the thrift stores here will not accept toys due to possible toxins or dangerous parts so we are looking at upcycling the very ubiquitously mundane household things from the countless”dollar stores here in sf" are we contributing to the consumerism ,or working with waste materials that we pay for?re working together , .we often collaborate on the beginning materials ,found vintage or new clothing that we can modifying.we also look at every day objects differently ,together or on our own .so it is really collaborative in a very organic way .

I really like the performative aspect of the Verasphere project and that it is welcoming, participatory and interactive. Was this a conscious decision from the start and possibly a pushback against 1990s attitudes to the AIDS crisis?

Originally I didn’t think of us as performative ,but I didn’t go to art scgoll beyond a couple of drawing and beginning photo classes  I have spent a lot more time in lit. And creative writing over the years .so perhaps I didn’t have the descriptive language for what we do. We have since lectured a few places and some years later a curator called us interventionist performance artists . That is a lot of syllables .lol I still think of our group as one big bundle of joy ,and leave the interpretations to the masses. but to respond more personally ,yes the simple fact that I insisted on going to the parade ,dressed up in that dark era was my very personal form of sensory restoration .it was a constant  to not let  my spirit be swallowed up by the emotional and psychic darkness of the times ,as well as five near death experiences and almost going blind . Every time I recovered from one illness or another I wanted to turn up the color even more . so I suppose it was a kind of push back to the times ,but more a response to living ,like coming up for air .each time the colors were more vivid ,everything sharper ,somehow the simplest things became the essential things and for me at the time . depression ,situational ,organic , and or induced by staking scores  of "medications' for my hiv and the related complications became a kind of treadmill.coupled with multiple losses , career , financial , social , etc . All I could do was pick up my toys and start over every time . Persistence was my paint . i just wanted to keep saying "I am still here " In a way at the start it was just David myself and a couple of out of town younger friends . we went from being that to creating a veritable tribe for ourselves and to share with the world .to say to them "You are here " enjoy this moment . When I think about it ,I suppose it is a lot of work for such a simple yet palpable effect on (now) so many . 

Do you think that the work an artist makes is in a sense a conduit to reflect society back upon itself?

Art is such a personal kind of expression .i think some art is a reflective conduit ,but then there is what I think of as a more visionary conduit  to the possibilities of change .Some art is highly personalized and about the psyche ,that May reflect to people much in the way that a writers personal style expresses or speaks to an individuals sensibilities or vision of possibilities .some art says nothing to many yet hits some point in the brain for others that can be cathartic in many ways .

I loved your quote in the documentary that the Mrs.Vera's Day Book is your way of 'communicating to him [David] the stuff that I find it hard to express in real life […] is silently through a lens under a ton and a half of garbage.'As a photographer do you personally find that the visual arts are a richer form of communication over language?

david said that about how he expresses in real life ,and it is definitely accurate for him and his perspective,and way of relating to me . i personally have always felt that visual art can communicate at many levels that are indeed wordless.yet we as artists have our own "language" Whether I was working on puppets ,video,dance ,drawing painting prose/writing ,collage ,etc .and of course photography ,I have always called myself a storyteller .i use the various mediums to explore then express ,what is interesting is the personal evolution of what one considers to be "a story" I like to make things that can leave the viewer determining what the story "is".seeing the obvious ,or unseen ,hearing the  words out loud ,or unheard ,having their own kind of sensory restoration .


Edit 24th August:

After discussions with Clive I need to edit this assignment to reflect his points so a bit more to do with this one. This assignment was left to last in the course module so this will be my very last OCA assignment to complete!