Public about Private
Attached are two portions that made up the audio of my "performance." The part called "backtrack" is the static part of the work that was not intended to be edited. The "flexfiles" was meant to be entwined cleverly with the audio that I stealthfully aquired, or would have stealthfully aquired was I not cursed. With this piece I was interested in our perception of security and privacy and how space , and walls in particular, can be deceptive. Oh, and I don't want my civil rights and liberties dissolved.
To be honest, I did not have other artists or their works in the forefront of my mind when forming the ideas for my piece. If I were, in retrospect, to examine potential subliminal influence I would name Guillermo Gómez-Peña. His work is highly critical of conservative, ultra-capitalist gov't regimes and also confronts racism by and of and to and for and at Latinos/as. Most importantly, in reference to my piece, he incorporates the Catholic confessional, albeit in a much different way. Check out: http://www.echonyc.com/~confess/
\ I'm not sure if that idea even came across through my piece, but I promise it was there.
I had initially wanted to build an elaborate set with an awesome black confessional-box-type-structure, and have the audience interact with it. That idea also involved stealth recording and playing back to the audience. Well, feasability reared its ugly head, but I/Rachel came up with a pretty great, I thought fool-proof, alternative. So props to artist Rachel Lundstrom and technition Karen Haselman for making what I was able to do possible.
The other specific, personal example operating in the audio was the notion of office space and cubicles. I worked in an office for a couple of weeks and was stuck by the false sense of security that a cubicle gives when conducting a conversation. Often times I was left with no option but to eavesdrop on the personal phone conversations of my co-workers in the cubicles adjacent mine.
Eventually, the overarching question of privacy and justice at a national scale comes in to play. My intention with the piece was to make this issue personal for every audience member and to offer many sensory and conceptual opportunities to do so. I had gleefully anticipated the slow realization that the audience would experience upon hearing the conversations they had just had slowly materialize over the last half of the piece.
Enough moping already, right?! Well, I appreciated all of your comments as well as your commradery over the semester.