agrobaby

For those interested in VCU, I just want to put my two cents in, since I visit Richmond, Virginia often, it's pretty much the Bushwick of the South. Not surprised where students go from there post-graduation! Contemporary art galleries, a large art museum, great food, drink, cheap rent, and a blend of art students and old southern aristocracy. If you have any romance for the southern gothic meets brooklyn, you will love it there.

Thanks Kafralal and Erpnope for your input! The sketches are hard for me to lose in the application process, simply because they are so vital to my practice. And I agree, "interested" is a weak word. :-)

New works posted, any feedback would be great! Especially in relation to my statement. http://trobinette.com/sculpture-installation ALSO, any thoughts on including sketches for sculptures (made or not made yet) in the portfolio? Thanks!

I will show you mine if you will show me yours! (mine isn't written yet, but I would love to get a handle on this part of the process) Keep in touch!

I would be interested to read your statement, and see how you conceptually tie this work together. There seem to be stronger and weaker paintings, 2011 and 2012 have some good examples. The element of fantasy or other-worldliness is the most interesting part of the work that runs through many of the paintings. Maybe continue to develop that? Are they all self-portraits, or are you only interested in the female form?

I agree with kafralal, It seems to me that the strongest work are your photo-transfers and paintings, and that the photo-transfers should be rephotographed. Post your statement when you have one together!

Thanks for hooking me up! Great text.

I've talked to Beverly Semmes about her recent pinch pots, and still don't like em. I haven't talked to Ghada Amer about her new stuff, but they seem so much weaker than her earlier work. (I drink with older artists, and end up meeting people). I couldn't find the article anywhere online, I will email you for it. Maybe it will change my opinion? thx!

Thanks for the feedback Kafralal. I agree that I may be saying too much in the 2nd- not leaving enough for the audience.

cool, I will watch it online. Did you get a sense of funding options being better or worse or the same as their regular semester MFA?

I find it really interesting that although I do not drop the "f" word at all in my website right now, you instantly latched on to my interest in feminine gender explorations, labeled them as feminist, and therefore found them quickly uninteresting. As an artist, and as a female artist, and as a person with radical politics, which includes feminism, I have struggled to decompartmentalize my politics and my work and life. I'm very aware of how female artists are treated, not only here but in europe, also. The female artists that do well either blend in with the boys, or become so loud that people can't help but take notice. Two female/feminist artists I whose work I use to love are Beverly Semmes and Ghada Amer, both of which are now making these stupid clay sculpture pot things, after loosing their feminisique in the early 2000's. I am not into their new work at all. I'm here to make authentic work, work that no one else could make, work that gets me riled up. I am fine with critiques, but I loose respect for people when they write off any perspective as uninteresting because it does not resonate with them.

Did anyone do the webinar session for SAIC's new low res program?

Your statement seems like you are playing a lot with the language itself, rather than the ideas behind it. Maybe pick one word or concept, and explore that fully in a couple paragraphs, analyzing how it relates to your work in very precise language.

I think because (particularly the new forms described in sketches, but actual sculptures won't be photographed for a few weeks) the works explore hybrid genitalia and animal/human/organism composite body forms, they do investigate a post-human body, though I agree that in the older works, that idea is not fully explored.

Yay! Statement critiques! I will throw a segment of mine in here for the mix. Would love to hear feedback. For visual reference, or an expanded version, see trobinette.com, though my new body of sculptural work isn't photographed yet, though there are sketches posted. My current work investigates a compulsive too-much-ness, a maximalization, as I create combinations of hyper-sexed engorged forms. My sculptural work is born out of excess, of bourgeois sensibility, and a perversion of good taste. I consider the fantasy of the sublime in my work, constantly seeking to heighten the clash of beauty and the grotesque. Both seductive and aggressive, the forms replicate like genetic abnormalities, cancerous cells, and become futile pop culture cadavers. They are mid-transformation; dangling in a liminal state, suggesting the final metamorphosis will be post-human. They assert that manufactured degradation is the conclusion of consumption. My own physical body is key to my work, both in sculpture and performance. The forms reference my size and shape, my appetite, genitalia, and my excrement. The horror of mutation is created using sensuous fabrics, as replicating structures emerge and are perversely disturbed. The fabric operates as skin; following patterns based on the body, both internal and external, and are stuffed, distending the forms.