IMPERIOUS: A LOOK IN THE MIRROR 2015-2016
In my mind, imperialism is a universal avarice. This collection serves as an aesthetic reminder of the past, to reflect that such acts of greed are also rampant in our modern world. The same outlandish misuse of power is still repeated for many of the exact same reasons: God, glory, and gold. The fact of the matter is that those who are socio-politically privileged have no right to establish lavish living over the backs and bones of other yielding, and in many cases, deceived human beings. The unsustainability of this desire to dominate is my focus.
This notion is demonstrated by juxtaposing the extravagant and opulent lifestyle of aristocrats in the French pre-revolution era with the consequences of that regime. These include the wrongful death, religious prosecution and reformation, classist oppression, and overshadowing of many indigenous populations that fell victim to imperialism. However, I don’t seek to exclusively demonize or point fingers at the French absolute monarchy as individuals, but instead use this particular establishment as well as the corresponding Baroque and Rococo stylistic periods as a model for the generalized abuse and perversion of power.
However human it is to feel remorse for those who have been exploited, one must also logically recognize the inherent dichotomy of thought between the oppressed and those who hold power. Behind its self-anointed gossamer veil, imperialism has been considered a perspective of “humanitarianism” just as much as it is an assertion of dominance. Figures we vilify now were once thought righteous and merciful (granted, primarily by their allies) for their contributions to those that were deemed “in need”. It was just as much their perceived Manifest Destiny to spread religious deliverance and “civilization” as it was to spread their political influence. After centuries of historical indoctrination, even average Americans live this every day. One does not need to hold office in government, be a religious official, or even be insanely wealthy to engage in this system. Imperialism is not something we can choose to avoid; like royalty, it is something into which we are born. It’s become as hereditary as any other part of our genealogy. The human condition therefore begs the question: Are the powerful absolutely to blame for misfortune, or are we all products of the battle for power?
No matter the opinion you hold, this postulation doesn’t change the fact that injustices have nonetheless been committed. So where what of the future? As with any situation that requires growth and improvement, the path starts with education and ownership. In our modern world we must recognize the views, counterpoints, and patterns that history has provided us, own them as fact, and utilize that knowledge in order to craft a more just, inclusive, and transparent future. As banal as imperialism’s presence in our cultural fabric may be, it is nevertheless our collective responsibility to shake off its dusty robes in order to build the world that all peoples deserve.
SYMPOSIUM: BEHIND THE ART
When the time came to defend my thesis to the Dean and board of Arts and Sciences, I knew I had to find a way to stand out. Most of my peers presented their exhibitions and findings in a powerpoint, oratory, or graphical manner. I decided that since I had a lot to say without much time to say it, that directing my own self-documentary was the best possible way to make my case. Throughout my entire senior year I set aside time to film myself working on the exhibition, piece by piece. I never knew how spooky and awkward silent pauses were until I had to film my own talking heads in an empty university studio at 3:00 AM. I then used my education in film to compose and edit it into a comprehensive summation of the collection as a whole. It was a unique success, and the judges lauded it with the University’s Merrit Award for the Most Outstanding Symposium presentation in the entire College of Arts and Sciences. Not only was this wonderful for presentational purposes, but it’s historical merit now allows a 21 year old Erin to guide you through what was the grande finale to my educational career.
COLONIZATION: BEE-CAM
For the inaugural showing of Colonization, I collaborated with the University’s Apiary Society to humanely enclose dozens of bees within a vitrine surrounding the sculpture. Aside from the visual intrigue of live insects being present in an art museum setting, I wanted their presence to help connect the conceptual dots for spectators that attended on opening night. The Bee Cam recorded all the buzz surrounding Colonization’s debut event on March 18th of 2016 in the Stetson University Hand Art Center.