Delaney Kate DeMott
Instructor, Contemporary Practices (2013). BFA, Tyler School of Art, Temple University; MFA, School of the Art Institute of Chicago. Exhibitions: Tyler School of Art, solo-show alumni weekend, Philadelphia; Victory for Tyler Show, Philadelphia, PA; The Kinsey Institute, Indiana University, Bloomington; Salon of Troy, group show, Chicago, IL. Books/Publications: Confronting the Abject, SAIC Press, 2013; The Object of Distraction Blog; Inside the Artist’s Studio Interview, Making of the Show. Awards: Juror's Grand Prize, Victory for Tyler Show; William Merchant R. French Fellowship.
Engaging in the playful periphery of the imagined, I reinterpret self-constructed identity through layered stages of digital and sculptural representation. I am propelled by my incessant curiosity to entertain irrational, profane and humorous impulses from within my imagination. I yield to the conceptual and material tease that this contrived world demands and in doing so I pursue the discovery of new territories in identity, character and sexuality.
Mining social media technology, I explore my costumed and contrived portrait through the lens of a laptop web cam. Mirroring how one shapes their identity through a stratum of experience, perception and media, each layer of the digitally constructed image acknowledges the other by retaining the haloed artifact from their cut and paste articulation. History hangs in these marks, revealing the process of the manipulated surface. Moving fluidly between wall-mounted collage and free standing sculpture, figural fragments are sculpted, cobbled, amassed, and photographed into a digital and sculptural bricolage. A liberated variety of techniques and materials help to define the works conceptual bearing.
When installed, self-portraits, collages and assemblages respond to one another by assuming the roles of predator, prey, wallflower, outcast, leader, member of the cast, sexpot, and virgin. With everyone acting their part, a community of characters develops, shaping an insular narrative. So entranced by each other, the characters seemingly deny the presence of the viewing audience. As a result, the onlooker may get the sense that they need not be present for the conjuncture to be actualized and therefore could possibly take on the role as a voyeur. In future work, I am interested in continuing to play with the social dynamics that are posed between the audience and the work. Specifically, I would like to focus on employing the viewer as a character that is implicated.
Disclaimer: All work represents the views of the INDIVIDUAL ARTISTS & AUTHORS who created them, and are not those of the school or museum of the Art Institute.