HOW TO: Oh, look at me, 2021
Materials:
Powder coated steel and expanded metal
Dimension:
120 x 192 x 144 inches
Fabrication:
Pulp Arts
GeoVanna Gonzalez
Shows:
Solo Exhibtion, Locust Projects, Miami Florida, 2021
Credits:
HOW TO: Oh, look at me is made possible, in part, with support from Locust Projects, Oolite Arts, Diaspora Vibe Cultural Arts Incubator, and Pulp Arts.
Photography by:
Zachary Balber
Juan Luis Matos
Materials:
Powder coated steel and expanded metal
Dimension:
120 x 192 x 144 inches
Fabrication:
Pulp Arts
GeoVanna Gonzalez
Shows:
Solo Exhibtion, Locust Projects, Miami Florida, 2021
Credits:
HOW TO: Oh, look at me is made possible, in part, with support from Locust Projects, Oolite Arts, Diaspora Vibe Cultural Arts Incubator, and Pulp Arts.
Photography by:
Zachary Balber
Juan Luis Matos
HOW TO: Oh, look at me is part of an ongoing series in which GeoVanna created work that visualizes poems featured in the online, open-source poetry collection tutorials (www.tutorials.fyi) by Martin Jackson. Inspired by his poem No Rothko the work considers how our identities are constantly being molded and shaped, a process reflected in both the work and the project that inspired it.
The structure is designed to represent the technological grid systems that shape our modern-day personal relationships and social exchanges. In the case of HOW TO: Oh, look at me, GeoVanna specifically turned her gaze to Jackson’s internet personal comments / marks on a work that exists in the public domain
The installation was accompanied by a film featuring two dancers, their movements responding to the sculpture, alluding to the way we interact online: those transitions we make as we modify our public and private personas; the things we share; the things we obscure; the things we surrender.
No Rothko
after William Bronk
Somebody said to me, during the intermission,
that I remind her of a Rothko painting,
which surprised me. Surprised me that,
appealing as he is – us being there,
in that paint of his,
by not being there – that no,
I don’t have any poems
about any Rothkos.
Some of us paint to grope in the dark,
I tell her. Not one of us sees anything.
Listen: not one thing is there.
We are, all of us, edgeless,
and senseless. Look at me.
Oh, look at me.
We have to start now.
By Martin Jackson
The structure is designed to represent the technological grid systems that shape our modern-day personal relationships and social exchanges. In the case of HOW TO: Oh, look at me, GeoVanna specifically turned her gaze to Jackson’s internet personal comments / marks on a work that exists in the public domain
The installation was accompanied by a film featuring two dancers, their movements responding to the sculpture, alluding to the way we interact online: those transitions we make as we modify our public and private personas; the things we share; the things we obscure; the things we surrender.
No Rothko
after William Bronk
Somebody said to me, during the intermission,
that I remind her of a Rothko painting,
which surprised me. Surprised me that,
appealing as he is – us being there,
in that paint of his,
by not being there – that no,
I don’t have any poems
about any Rothkos.
Some of us paint to grope in the dark,
I tell her. Not one of us sees anything.
Listen: not one thing is there.
We are, all of us, edgeless,
and senseless. Look at me.
Oh, look at me.
We have to start now.
By Martin Jackson