Artist, Beatrix Fowler: The Crash pieces are super fake and not actually crashed together. They look like an incident that happened quickly, maybe, and suddenly. But in reality, they're a lot less like a fight and more like a surgery. They're really slow and procedural and take a lot of steps.
From 2001 till about 2007, I mainly did this performance called BARR. It was a deconstructed pop music thing. But it really revolved around personal narrative. The performance was about me being there and talking to the audience.
The photographs are all made by me. They're fairly autobiographical. The title of each piece reflects the time span from which the photographs happened, and then parenthetically it lists the images. Images repeat in different pieces, but the discrete image always has the same title.
They function similarly to how the storytelling of the performances did, in so far as it's me, dealing with my experience. It's all material that I feel like I have a license to. The way the sculptures deal with different pictures is a different way to metabolize or present this narrative.
When I started really trying to make sculptures, the idea was to figure out how to make objects that would function in my absence, because the performance obviously was so much predicated on me being there and really about me engaging with the room and addressing everyone directly.
I first started out using text. But I realized that text was limiting. And pictures can do things that text can't do. That's how I arrived at these sculptures which are about different kinds of narrative strategies than the performances were.
Art—that capital A, "Art," umbrella, affords us all these different kinds of storytelling routes and things. I am interested in the spectrum of sincerity.