Samantha Persons
"Reality TV"
Foundations Of Communication, 2011 Foundations Of Communication DetailFoundations Of Communication DetailFoundations Of Communication DetailFoundations Of Communication DetailFoundations Of Communication DetailFoundations Of Communication DetailFoundations Of Communication DetailFoundations Of Communication DetailFoundations Of Communication DetailFoundations Of Communication DetailFoundations Of Communication DetailFoundations Of Communication DetailFoundations Of Communication DetailFoundations Of Communication DetailFoundations Of Communication DetailFoundations Of Communication DetailFoundations Of Communication DetailFoundations Of Communication DetailFoundations Of Communication DetailFoundations Of Communication DetailFoundations Of Communication DetailFoundations Of Communication DetailFoundations Of Communication DetailFoundations Of Communication DetailFoundations Of Communication Detail
Commodity, Commotion, Communication 2011
Multimedia interactive installation, 2011
42' x 16' x 17'

Project Written Abstract
The artist is a product of her time, and her belligerence is a defense and not a preference… since the artist cannot exist outside her time, certain social pressure has affected her, certain critical opinion has directed her. I am a product of my environment, with the media constant and the postmodern presidency. The creation and history of the very materials I use lie within my lifetime; they are a metonym for the present.

Art is always made up of a set of paradoxes nurtured in the imaginary and working with, but also against, the norm—to undermine its authority in favor of a new configuration of symbolic meaning. It is this deconstruction and reconstruction of signified and signifier that is a fragment of my work. My “I Am Art” series literally makes the declaration that they are Art, using popular cultural icons and materials that signal the difference between Art and non- art identified objects such as house paint, vinyl letters, Art Now Vol. 1 and 2, Jessica Stockholder Book, Ellsworth Kelly catalog, Art and Objecthood by Michael Freid, 1000 fluorescent-colored bendy straws, electricity, extension cables, Air wick air fresheners, orange Plexiglas, television static, fluorescent bulbs, life-sized Hanna Montana Sticker, highlighters and glitter. One main component to my process are stickers which have a long historical correlation to femininity and decoration. By appropriating gendered materials such as the pink 2 by 4’s, I create a dichotomy between the masculine material and the feminine façade. The fragments and collaged imagery are markers to signify the saturation of text. The artist becomes a manipulator of signs more than a producer of art objects, and the viewer an active reader of messages rather than a passive contemplator of the aesthetic or consumer of the spectacular.

I work within an interstice of intuition and designation. Calling upon techniques in art history I wish not only to illustrate the material but also contextualize it in terms of the present, creating identity in my work through the cross-germination of knowledge and theory with experience and intuition. For an idea to exist there must be a feeling, an intuition or obsessional image. A painting or work of art occurs in the meeting between this image and what one would call a materials language…abstraction in itself is nothing.
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Within this installation I hope to lay the foundation of my own personal archive. As in my previous work, the purposeful use of non-art materials I try to expand the field of art definitions, allegorical symbolism, and comment on contemporary culture; while still maintaining a strong sense of visual aestheticism. My work is trying to deconstruct the definition of the artist and their environment, like the expanded questioning of language and philosophy Derrida is a proponent for. I use deconstruction to demystify the ontology of Art.