––– Consensus Reality, 2016
music, video, performance ; 23 minutes Consensus Reality is a musical in which multiple personal mythologies and aesthetics coexist, channeled through the surfaces and depths of rock n roll.
Created through both collaboration and isolation, Consensus Reality juxtaposes two individuals’ searches for consensual experiences of Self and Other.
It is an attempt to expose the invisible forces of reality, explore identity through performance, and seek a new community.
These songs tell a story that has been elaborated in a 20-minute video and coinciding performance produced by Gabrielle Duggan + Neill Prewitt.
Documentation via stills, promotion for performance in Beijing, CN.
––– Resound, 2015
12 X 16 X 28 feet, performance: 30 minutes
textileindustry remnants, steel, contact microphones
Installed for collaborative performances with Nic Jenkins at The Nickelodeon (Columbia SC) for Indie Grits' Future Art Residency.
performance documentation and interview at Indie Grits:
––– Balloons with a Z, 2015
10 X 18 X 36 feet
2,000 + balloons
A collaboration at Flanders Gallery, Raleigh, NC: installed and exhibited within a 48 hour window.
With Megan Sullivan, Jacyln Bowie, Derek Toomes, Neill Prewitt, Bill Thelan, Lincoln Hancock, Kellie Bornhoft, Peter Oakley, Adam Dipert.
––– HEAVYRESTING, 2014
00:03:53 video
Props, styling, and set for Blursome's HEAVYRESTING video.
––– fertile crescent, 2013
8 X 10 X 12 feet
cotton, wood, earth, seeds, water, performance
Gabrielle Duggan and PJ Maske.
Fertile Crescent was a collaboration between installation artist Duggan and movement artist Maske, as a reflection on inherent cycles of life and death within a woman's life.
Acts of Grieving and Nurturing, Purging and Re-Cultivating, were positioned together within intimate physical movements throughout the installation, space, and beyond the fourth wall.
––– Garment in Time, 2011
8 X 16 X 20 ft.,cotton, 2 channel video projection, rabbit skin glue
Yarns donated by Cotton Inc.
Gabrielle Duggan, Meghan Holliday, Cayce Lee, Amy Quinn
Garment in Time was commisioned by the Southeastern Center for Contemporary Art for the group show, Out of Fashion, which traveled to the Cameron Art Museum.
As a collaboration between members of the Common Seam Collective, Garment In Time considered the corresponding experiences of the fiber object and the life of its user;
ways in which the user's identity is constructed by the object, and the object is subsequently imbued with the character of the user, even after the two are separated.
Exhibition view at SECCA (far right)
––– FACILITATIONS–––
––– it is some time, 2015
16 X 24 X 30 ft., textile industry remnants, rocks, audience participation
A collaboration with community and artist Neill Prewitt at the Contemporary Art Museum (Raleigh NC).
Viewers were invited to contribute to the piece by weaving and tying silver strands in response to the verbal prompt "It is sometimes ____ ".
––– blessing, 2014
series in various dimensions; various fibers, acrylic medium, wood blessing was a project involving a crowd-funded (Kickstarter) residency (Governors Island Art Fair), with pieces produced in response to the stories of their recipients.
The title of the project, which utilized knit manipulation, points to the "Sweater Curse" myth.
––– Conjunction, 2014
Jacyln Bowie, Gabrielle Duggan, Shannon Newby
(2) 3 X 6 X 10, (1) 3 X 3 X 6 ft., clay, cotton, newsprint, video; Conjunction was commissioned by ArtSpace NC PopUp to activate an unoccupied retail space in Sanford, NC.
The artists worked together and with the communities of Raleigh and Sanford to create work in materials of historic and economic significance to the regions; clay and cotton.
These forms acted as a material bridge between the geographically and economically disparate communities.
–––
WARP7, 2013
6 X 12 X 32 feet; industrial textile remnants, audience participation
Collaboration with Middle School Students at the Contemporary Art Museum of Raleigh, the public was invited
to write and weave their hopes into the piece, illustrating the reliance on community of individual aspirations.
––– TIME–––
(also see: FACILITATIONS: Landfalls; songs of... \ my misogyny
COLLABORATIONS: looming resonance \ Resound \ Consensus Reality )
––– spinster spotting, 2011
6 X 6 X 10 ft., mixed media installation, performance
Through a durational performance spinning wool on a wheel in a public installation, I invited the public to encounter the power wielded in mystery.
Viewers confront historic representations and preconceptions of non-conforming women with duplicitous reproductive identity; embodying both creative and destructive powers.
Overhead by a young viewer, "Is She real?"
––– wateredwool,saltedslug, 2010
4 X 6 X 8 ft., wool, cellophane, rock salt, video projection
A model drags her body across the floor by pulling a wool garment on and off, her image fragmented through panes of plastic before landing on
the floor where a large white line is encountered.
This work was a reflection on the state of professionalism in New York's fashion industry experienced in the years spent working there, prior to the piece.
installation views.
––– occurrents, 2012
series: 8 x 10 inches each, digital images and 1 set of prints
An observation of intersections between domestic maintenance, resistance, and constrainment.
