Unique vintage gelatin silver prints in acrylic boxes
10 x 16.25 x 6.5 inches
Layered Plexiglas, black and white film transparencies
5.75 x 3.75 x 1.5 inches
Self-portrait with Images
Film, Plexiglas and dye image
6.25 x 11 inches
Untitled (Six boxes) 1974. Brass.
Rachel de Joode.
Using bits, chunks, crumbs of my photographed skin I created an abstracted photographic sculpture.
“The Colour of Me also takes a geometric base for its form, one that reimagines the surfaces of the artist’s own body in a painted abstraction seeking some form of truth. It is a representation that extrapolates the visible surface of the artist into a hypothetical body. Using a geometric form to represent something as organically supple as the human physique creates a switchback for the eye. This is not a portrait, not as we know it, nor is it any kind of traditional figurative sculpture, and yet it is both — a metamorphosed conglomeration of impossible structures, a composite body that allows us to study the strangeness of skin, our everyday colour container. The work replicates the average dimensions of the artist’s own body: 165cm high, 45cm wide, and 20cm deep. It is also an average of her skin colour. But what colour is skin really? The racially loaded names for skin tone remain contested, fragile and inflammatory notions, badly chosen colour labels that don’t come even close to any true tonal descriptions of our dermal surfaces. Here de Joode looks more deeply for a truth of colour in her own skin, asking herself what colour she is. The result is a self-rendition, photographed, modified, fused, warped and digitally painted in an impossibly non-human form, where a surreal surface becomes the location to search for a truth in skin colour, revealing a superficial signifier that exists only in our perceptions.” - text by Din Heagney
Rachel de Joode.
Google home screen printed on foil and mounted on glass, with the name of the artist in the search bar.
This is a performace piece: a woman sits, hangs and presses herself against the glass plate and licks it. Her movements are weak, extremely slow and viscous like dough.
She moves without beginning, without end. She is in a soft state, pushing her mush against the plate which becomes a wall she cannot go through.
This piece is about a parallel, Google existence and the border between the physical and the imaginary. The internet offers the possibility of another kind of life, a non-physical, mechanical existence which resides separate from the body.
On the internet, there is an “ideal” self, a fictional self, that is not real. This parallel persona is reproduced and distributed in a place that we cannot see or grasp, and it lives and decays at a rate different than our physical selves. However, this alternate, Internet being is still a real thing, its thingness Google.