DEXTER, Conceptual Artist
Photography • installation • performance • honest • giving • open minded
+ $10 pr. extra guest
Responds within 24hrs.
ABOUT MY SPACE
The Peacock Paradise is a loft with two cats, a peacock named Dexter and a human named Ventiko. We live together in central Bushwick and enjoy a quiet lifestyle filled with love and various artistic adventurous.
We do not smoke or drink and prefer that these activities are done elsewhere, like the beautiful roof with a 360 view.
The mattress is memory foam and extremely comfortable. If there are two of you and you sleep together, you can have my queen bed and I will sleep in the twin nook.
Please note: Our due to our unique relationship of human/peacock/cats we request that you be open minded and confidential (i.e.: please do not intend to exploit us), and yes we three pecked out this message.
Looking forward to meeting you!
✓ Hair dryer
✓ No smoking allowed
✓ No pets allowed
✓ Includes pets
ABOUT ME & MY WORK
My practice is an amalgamation of constructed photographic narratives and public interventions that ultimately speak to the idea of identity, or performing identity.
Contemporary digital tools that are available to the modern photographer enable not only; alteration of both the physical and aesthetic appearance, but also allow for (re)construction of new narratives within the framework of the image.
Throughout my relationship with the photographic image, I’ve used these tools to develop a visual language that is rooted in a perversion of the devout as well as an expression and worship of the Enthusiastic Terror. The Enthusiastic Terror is the greatest of the six passions (admirations, desire, horror, joy, sadness, and terror) that identifies the Sublime as defined by John Dennis in The Ground of Criticism in Poetry, 1704.
This ever-expanding language expresses my social positions from sexualtiy to the general, persona and the state of the “Modern Woman”.
The evolution of this language has been guided by aesthetic choices incorporated into the pre-construction of the photographs. Rather than wait for the ‘perfect moment’ I deliberately construct a scene that is not situated in a state of time; but rather, in a state of mind. ; images are not those which are found by waiting for the perfect moment, instead they are the construction of a moment, not in time but in thought.
This construction, which is an homage to the elaborate sets of Renaissance painters, is a critical aspect in my work. The process of creating these scenes in a manner that harkens to the Renaissance masters, is particularly important. The conceptual crux of my work draws directly on classical Biblical imagery in combination with the obscene. The content of the work reflects my examination of a moralistic duality.
These aesthetic and historically contextual references create a conceptually structured triangle: the incorporation of the historical into the present to influence the future, juxtaposing the traditional with the contemporary, both via technique and style, and uprooting and exposing binaries within the human condition, displaying them to the viewer in a deliberately confrontational gesture.
Like the photographic side of my practice, my work in performance and public interventions questions different performances of identity. For example; my ongoing performance piece, Sylva Dean and Me places mask-clad performers in intricately constructed wearable sculptures, which I have created from recycled nursery school milk cartons, into public spaces. These anonymous silent beings are intended to question various constructions of identity politics by forcing the audience to contend with them.