Thesis Exhibition at the Blaffer Art Museum
When I was a little girl I went to a small one room school in the country that was run by two Dominican nuns named Sister Benita and Sister Leona. Many simple white wooden shelves ran through the space, dividing it into different ‘grades’ as it were. On each shelf was an assortment of objects, from bird’s nests to small bones to shells. There were even some small cards with what I would come to know years later as fine art; Thomas Gainsborough’s Blue Boy looked out at me, frozen in a mysterious satin costume from a time and place I knew nothing of. From time to time the nuns set us to cleaning the school, and my favorite task was to dust these shelves. To do so, I removed all of the items and carefully rearranged them across the nearby floor. I remember that once one of the sisters commented on my placement system, and I felt very proud.
Objects from Houston, Texas
The Art School Phantasms or Ghosts or “Not to be outdone, the women told ghost stories too. Inés Viñas told the story of a portraitist who abandoned his art as a result of specializing in ghost portraits. The ghosts materialized only to pose and then disappeared again. It was frustrating for the artist not to have any enduring reality with which to compare his work. But that was not the worst thing. The worst thing was that the ghosts rationed their visibility in a rather drastic manner, and didn’t even materialize in their entirety; only the feature that the artist was copying at a particular moment appeared, and not even that: just the line, the mere brush-stroke...They duplicated his work so perfectly that the exasperated painter broke his brushes, stamped on his palette, kicked the easel over, and bought himself a Leica. Which only made things worse, much worse” (César Aira, Ghosts).
1987, 1990, 2008 (English Translation), 2011-2014