In addition to exploring feminist themes around the body and invisible labour, Hosea's practice uses drawing as an embodied gesture, key to animating objects, herself as performer, and film. I liked the concept behind her rosary drawings and the interpretation of the beads and the sequential action of praying while moving the fingers across the string as akin to sequencing and movement in film.
Especially enjoyable was Hosea's sense of humour and her use of the uncanny and what she produced from her obsession with the final monologue in classic Hollywood movie, Sunset Boulevard (1950).
Stills from performance with animated projection Out There in the Dark (2008).
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