Thanks to Canadian Art mag,
I’ve been exposed to Iris Häussler (www.haeussler.ca),
Gregor Schneider (www.gregorschneider.de),
Christoph Büchel (en.wikipedia.org/wiki/Christoph_Buchel),
and Janet Cardiff (www.cardiffmiller.com),
all because of an intriguing article, Brilliant Disguise: Iris Häussler’s fact-meets-fiction odysseys.
For the reopening of the Art Gallery of Ontario in 2008, Häussler created He Named Her Amber, an archaeological “discovery” of early 19th century art by an Irish maid.
But the discovery was not credited to Häussler. It was presented as a legitimate discovery.
Not surprisingly, this was met with mixed reactions once the truth came out.
This fascinates me because I want my art to be as true as possible.
I have considered enlarging journal entries, exposing my frustrations, questions, and failures to the world.
I am tired of the public personas that we are all expected to put on each day of our lives.
I believe that much of our depression is caused by living false lives.
We hold so much in, for fear of how the truth will be interpreted, for fear of what the truth may cause.
But perhaps that fear and the stress it causes is much worse than living open, truthful lives.
In this article, there is a quote by Häussler that stirred another aspect of art in my core.
While speaking about channelling her fictional characters to create sculpture, she says:
It’s like taking off a corset. These characters give me permission. You allow yourself to play, then things come up. Play is what our society is missing so much – it is almost healing.
For months, I have been pursuing my art like never before,
and while it excites me, it also fills me with dread and stress every single day.
Instead of playing, and letting things come up, as Haussler suggests,
more often I am fretting about whether what I am doing is worth it, or whether it’s in the right direction, or even “why have I waited so long to work on my art?”
I long for a return of play to my art.
Perhaps, by relieving myself of the stress of fear, and instead revealing complete truths in my art, I will find a sense of play…?
Below, from the same article, is a shot of the bedroom from The Legacy of Joseph Wagenbach, another work by Häussler from 2006.