tag:blogger.com,1999:blog-23125742054700781292023-11-15T05:41:10.693-08:00Eve DentEve Denthttp://www.blogger.com/profile/08418100481630746889noreply@blogger.comBlogger6125tag:blogger.com,1999:blog-2312574205470078129.post-61793007930411563322017-01-25T03:59:00.004-08:002017-01-25T03:59:59.378-08:00Delighted to be included with Zoë Gingell in this publication from the Live Art Development Agency...<br />
<a href="http://www.thisisliveart.co.uk/blog/live-art-and-motherhood-a-study-room-guide-on-live-art-and-the-maternal/">Live Art and Motherhood - a study room guide</a><br />
researched and written by the artists,activists and academics Emily Underwood-Lee and Lena <span style="color: #000305; font-family: "helvetica";">Šimić.</span>Eve Denthttp://www.blogger.com/profile/08418100481630746889noreply@blogger.com0tag:blogger.com,1999:blog-2312574205470078129.post-77329825099248628312010-05-29T08:35:00.000-07:002011-04-06T14:17:45.254-07:00Welcome<span class="Apple-style-span" style="font-family:verdana;">This blog, a work in progress, is an attempt to bring together material and information about my past work, my ideas and influences and also give some background to my current practice as an artist and my collaboration with </span><span class="Apple-style-span" style="font-size:small;"><span class="Apple-style-span" style="font-family:verdana;">Zoë</span></span><span class="Apple-style-span" style="font-family:verdana;"> Gingell: </span><a href="http://mothersuckersproject.blogspot.com/"><span class="Apple-style-span" style="font-family:verdana;">The Mothersuckers Project</span></a><span class="Apple-style-span" style="font-family:verdana;">.</span>Eve Denthttp://www.blogger.com/profile/08418100481630746889noreply@blogger.com0tag:blogger.com,1999:blog-2312574205470078129.post-5262790968322811642010-05-29T03:55:00.000-07:002011-04-06T15:03:13.694-07:00Biography<span class="Apple-style-span" style="font-family:verdana;"><span class="Apple-style-span" style="font-size:small;">"<i>Dent has consistently pushed audiences in their expectations of performance. The subtlety of her work cuts through some of the po-faced bombast of much performance work</i>". Anthony Shapland</span></span><div><span class="Apple-style-span" style="font-size:small;"></span><span class="Apple-style-span" style="font-family:verdana;"><br /></span><div><span class="Apple-style-span" style="font-family:verdana;"><span class="Apple-style-span" style="font-size:small;">Born in London, I studied in Bristol and then in Cardiff, where I have been based for the past 12 years. Since 1999 I have performed widely both in the UK and in Europe. Commissioned work includes 'Good his Labour', performed at the Victoria and Albert Museum, for Architecture Week 2003 and the 'Anchor Series'- site specific improvisations, performed at among others: Anti Festival Finland (2003), Bone6 Switzerland (2003) and for the Baltic in Newcastle (2005). I was also an artist in residence for the Body Limits Season in Lyon (2002) and Dance Encounters, Wales Arts International (2007). I </span></span><span class="Apple-style-span" style=" ;font-family:verdana, serif;">also exhibit prints of my performances, participating in 'Flourish', a group show in the Czech Republic (2005), SPILL in London (2007) and most recently in 2010 showing a film of my work for 'The Fractured Body: The House as Body', an event hosted by Mobile Studio as part of the Surreal House exhibition at the Barbican Art Gallery.</span></div><div><span class="Apple-style-span" style=" ;font-family:verdana, serif;"><br /></span></div><div><div><span class="Apple-style-span" style="font-family:verdana, serif;"><span class="Apple-style-span" style="font-size:small;">In the past my work has been concerned with the positioning of the body and the blurring of boundaries of subject and object in architectural space, this has led more recently since becoming a mother to exploring the maternal body as site itself. I am currently working with <span class="Apple-style-span" style=" ;font-family:Georgia, serif;"><span class="Apple-style-span" style="font-size:small;"><span class="Apple-style-span" style="font-family:verdana;">Zoë</span></span><span class="Apple-style-span" style="font-family:'trebuchet ms';"><span class="Apple-style-span" style="font-family:verdana;"> Gingell</span><span class="Apple-style-span" style=" ;font-family:verdana, serif;">, in a joint examination of our experiences of motherhood in relation to the body; the 'Mothersuckers Project'.</span></span></span></span></span></div><div><span class="Apple-style-span" style="font-family:verdana, serif;"><span class="Apple-style-span" style="font-size:small;"><span class="Apple-style-span" style=" ;font-family:Georgia, serif;"><span class="Apple-style-span" style="font-family:'trebuchet ms';"><span class="Apple-style-span" style=" ;font-family:verdana, serif;"><br /></span></span></span></span></span></div><div><span class="Apple-style-span" style="font-family:verdana, serif;">I am also a qualified lecturer and have taught at the University of Wales Institute, Cardiff and Gloucestershire University.</span></div></div></div>Eve Denthttp://www.blogger.com/profile/08418100481630746889noreply@blogger.com0tag:blogger.com,1999:blog-2312574205470078129.post-24000016618065427262010-05-28T04:10:00.000-07:002011-04-06T14:16:40.904-07:00Artist’s Statement April 2011<p style="margin: 0.0px 0.0px 12.0px 0.0px; text-align: justify; font: 10.5px Verdana; color:#535353;"><span class="Apple-style-span" style="font-family:verdana;"><span class="Apple-style-span" style="font-size:small;">My past practice has been based around using my body to create installations that arise out of interactions with architectural structures and spaces. These interactions have manifested as live solo performances and also as a large body of photographic work. </span></span></p> <p style="margin: 0.0px 0.0px 12.0px 0.0px; text-align: justify; font: 10.5px Verdana; color:#535353;"><span style="letter-spacing: 0.0px"><span class="Apple-style-span" style="font-family:verdana;"><span class="Apple-style-span" style="font-size:small;">It appears as if all or parts of my body have been fitted into the very fabric of a room or environment. Often my body is almost completely hidden within the recesses or constructed spaces found within a building: for example, the space under a floor or the flue of a chimney, with only part of my body visible, or I am squeezed into holes or gaps in the material structure - my physical contours against those of the architecture. </span></span></span></p> <p style="margin: 0.0px 0.0px 0.0px 0.0px; text-align: justify; font: 10.5px Verdana; color:#535353;"><span style="letter-spacing: 0.0px"><span class="Apple-style-span" style="font-family:verdana;"><span class="Apple-style-span" style="font-size:small;">Through this work I have sought to question our understanding of the body and its environment, so that there appears to be a blurring of boundaries between the subject and the object, between built structures and the live bodily form. The performances </span></span><i><span class="Apple-style-span" style="font-family:verdana;"><span class="Apple-style-span" style="font-size:small;">“allow for the working of a kind of ‘sympathetic magic’ that ‘grows’ a complex hybrid web between flesh and architecture...this is not a case of symbiosis, there is never a blending between these two bodies that would require a third as a witness, but a continual swerving, borderlinking, oscillation.” </span></span></i><span class="Apple-style-span" style="font-family:verdana;"><span class="Apple-style-span" style="font-size:small;">(1)</span></span></span></p> <p style="margin: 0.0px 0.0px 0.0px 0.0px; text-align: justify; font: 10.5px Verdana; min-height: 13.0pxcolor:#535353;"><span class="Apple-style-span" style="font-family:verdana;"><span class="Apple-style-span" style="font-size:small;"><span style="letter-spacing: 0.0px"></span><br /></span></span></p> <p style="margin: 0.0px 0.0px 12.0px 0.0px; text-align: justify; line-height: 14.0px; font: 10.5px Verdana; color:#535353;"><span style="letter-spacing: 0.0px"><span class="Apple-style-span" style="font-family:verdana;"><span class="Apple-style-span" style="font-size:small;">In my most recent body of work, the “anchor series”, 2003-2007, I was commissioned to respond to a building or site in my own unique way; to seek out its hidden and unseen nooks and crannies and bring them to life. To become, in a way, the spirit of the building. </span></span></span></p> <p style="margin: 0.0px 0.0px 12.0px 0.0px; text-align: justify; line-height: 14.0px; font: 10.5px Verdana; color:#535353;"><span style="letter-spacing: 0.0px"><span class="Apple-style-span" style="font-family:verdana;"><span class="Apple-style-span" style="font-size:small;">Since 2004, when my daughter was born, I have been producing work less intensely and my voyage into motherhood has informed and inspired me to now undertake a change in direction as an artist. </span></span></span></p> <p style="margin: 0.0px 0.0px 12.0px 0.0px; text-align: justify; line-height: 14.0px; font: 10.5px Verdana; color:#535353;"><span style="letter-spacing: 0.0px"><span class="Apple-style-span" style="font-family:verdana;"><span class="Apple-style-span" style="font-size:small;">It is my intention to start a movement based research process, to explore material drawn from my recent home-life. I am particularly interested in how a child relates to and moves within space. I hope to record my past and present observations in various ways, including translations of a child’s movement or actions into my own adult physical language.</span></span></span></p> <p style="margin: 0.0px 0.0px 12.0px 0.0px; text-align: justify; line-height: 14.0px; font: 10.5px Verdana; color:#535353;"><span style="letter-spacing: 0.0px"><span class="Apple-style-span" style="font-family:verdana;"><span class="Apple-style-span" style="font-size:small;">In the past, my work has been concerned with the positioning of the body and the blurring of boundaries of subject and object in architectural space, this has led more recently since becoming a mother, to exploring the maternal body as site itself. I am currently working with another visual artist who is also a mother, in a joint examination of our experiences of motherhood in relation to the body: how ones sense of self dislocates /relocates through the bodily experiences of pregnancy and breastfeeding a baby.</span></span></span></p><p style="margin: 0.0px 0.0px 12.0px 0.0px; text-align: justify; line-height: 14.0px; font: 10.5px Verdana; color:#535353;"><span style="letter-spacing: 0.0px"><span class="Apple-style-span" style="font-family:verdana;"><span class="Apple-style-span" style="font-size:small;">This collaboration has developed into the Mothersuckers Project, and 'Breastcups', a piece that combines performance, video and installation. The work plays in a humourous and ironic way with the breast as a container of many meanings; as a dual conduit of connection and separation between Mother and Baby, and extended within a social arena to challenge cultural norms.</span></span></span></p><p style="margin: 0.0px 0.0px 12.0px 0.0px; text-align: justify; line-height: 14.0px; font: 10.5px Verdana; color:#535353;"><span style="letter-spacing: 0px; "><i><span class="Apple-style-span" style="font-family:verdana;"><span class="Apple-style-span" style="font-size:small;">“Breasts- like the women who “wear”-them can be deemed as both sexual </span></span></i></span><span style="text-decoration: underline; letter-spacing: 0px; "><i><span class="Apple-style-span" style="font-family:verdana;"><span class="Apple-style-span" style="font-size:small;">and</span></span></i></span><span style="letter-spacing: 0px; "><i><span class="Apple-style-span" style="font-family:verdana;"><span class="Apple-style-span" style="font-size:small;"> maternal.” </span></span></i><span class="Apple-style-span" style="font-family:verdana;"><span class="Apple-style-span" style="font-size:small;">The maternal body disturbs by accentuating this lack of a clear black or white distinction. </span></span><i><span class="Apple-style-span" style="font-family:verdana;"><span class="Apple-style-span" style="font-size:small;">“As an act of motherhood that is simultaneously exalted and abhorred, breastfeeding animates this notion of “binary terror”.” </span></span></i><span class="Apple-style-span" style="font-family:verdana;"><span class="Apple-style-span" style="font-size:small;">(2).</span></span></span></p><div><i><span class="Apple-style-span" style="font-size:small;"><span class="Apple-style-span" style="font-family:verdana;">'Within the installation, Breastcups, the maternal body is physically displaced through its table setting, breasts served up as cake and cups on dollies, sitting next to umbilical tubes and feeding paraphernalia, all wrapped up in politeness. As in the videos, the collection of milk, the ever present fluid, acts as a connective currency between the private intimate act of nurture, without the baby's presence and a world of manners, tea-time.' Zoë Gingell. </span></span></i></div><div><span class="Apple-style-span" style="font-family:verdana;"><span class="Apple-style-span" style="font-size:small;"><br /></span></span></div><div><span class="Apple-style-span" style="font-family:verdana;"><span class="Apple-style-span" style="font-size:x-small;">(1) Kuburović, “Matrixial Traces in Performance: the anchor series”. Parallax, 2009, vol. 15, p.121. </span></span></div><div><span class="Apple-style-span" style="font-family:verdana;"><span class="Apple-style-span" style="font-size:x-small;">(2) Faedra Chatard Carpenter, '"(L)Activists and Lattes": Breastfeeding Advocacy as Domestic Performance.' Woman and Performance: a journal of feminist theory 16:3 347-367, p. 352-353.</span></span></div><div><span class="Apple-style-span" style="font-family:verdana;"><span class="Apple-style-span" style="font-size:x-small;"><br /></span></span></div><p></p>Eve Denthttp://www.blogger.com/profile/08418100481630746889noreply@blogger.com0tag:blogger.com,1999:blog-2312574205470078129.post-69847635573403250832010-05-15T03:36:00.000-07:002011-04-06T15:01:34.621-07:00Anchor Series<span class="Apple-style-span" style="font-family:verdana;">Since 2003 I have been making the 'anchor series'; a series of impromptu interventions tailored uniquely to a building or space that explore the threshold between bodily self and material thing. As I journey around a site, usually unknown to me before I arrive, I attempt to fit my body into the nooks and crannies, holes and cavities that exist within its architecture and the objects found there, using my body as a medium through which to explore the poetic life of a building and the playful encounter that occurs between audience, body and site.</span><div><span class="Apple-style-span" style="font-family:verdana;"><br /></span><div><span class="Apple-style-span" style="font-family:verdana;">This work has been consistently influenced by ideas of embodiment in relation to environment, in particular Roger Caillois' essay examining insect mimicry: 'Mimicry and Legendary Psychasthenia', which first appeared in the Surrealist journal Minotaure. Caillois proposed that insect mimicry had no survival value and was instead a confusion between an insect and its environment. He linked this behaviour to a kind of spatial psychosis, where the subject feels that their identity no longer resides within the boundary of the body but is lured out into space. </span><i><span class="Apple-style-span" style="font-family:verdana;">'The feeling of personality, considered as the organism's feeling of distinctness from its surroundings, of the connection between consciousness and a particular point in space, cannot fail under these conditions to be is seriously undermined...' </span></i></div><div><span class="Apple-style-span" style="font-family:verdana;"><span class="Apple-style-span" style="font-size:x-small;">(Roger Caillois, </span><i><span class="Apple-style-span" style="font-size:x-small;">"Mimicry and Legendary Psychasthenia</span></i><span class="Apple-style-span" style="font-size:x-small;">," translated by John Shepley, in </span><i><span class="Apple-style-span" style="font-size:x-small;">October: the First Decade, 1976-1986, </span></i><span class="Apple-style-span" style="font-size:x-small;">edited by Annette Michelson, Rosalind Krauss, Douglas Crimp, and Joan Copjec (Cambridge, Mass.: MIT Press 1987), p.70. Caillois's essay was first published in </span><i><span class="Apple-style-span" style="font-size:x-small;">Le Mythe at l'homme </span></i><span class="Apple-style-span" style="font-size:x-small;">(Paris: Gallimard, 1938), and in a shortened version in </span><i><span class="Apple-style-span" style="font-size:x-small;">Minotaure</span></i><span class="Apple-style-span" style="font-size:x-small;"> a year before.)</span></span></div><div><span class="Apple-style-span" style="font-family:verdana;"><br /></span></div><div><span class="Apple-style-span" style="font-family:verdana;"><i></i>The anchor series has also been influenced by my personal discovery of the figure of the anchoress. A medieval female hermit, the anchoress was usually a nun who chose to be shut up for life inside a small room attached to a church. This act of living entombment and incarceration I find both deeply fascinating and disturbing, metaphorically mirroring some of my own artistic concerns: the housing of the body in site; the rite of disappearance and loss; a vision of the sanctity of bricks and mortar, protected, anchored and mediated through a human presence. </span><i><span class="Apple-style-span" style="font-family:verdana;">'It is for this reason that an anchoress is called an anchoress, and anchored under a church like an anchor under the side of a ship, to hold it, so that the waves and storms do not pitch it over.'</span></i><span class="Apple-style-span" style="font-family:verdana;"> <span class="Apple-style-span" style="font-size:x-small;">(Ancrene Wisse).</span></span></div><div><div><div><p style="margin: 0.0px 0.0px 12.0px 0.0px; text-align: justify; line-height: 14.0px; font: 11.0px Verdana"><span class="Apple-style-span" style="font-family:Georgia, serif;font-size:130%;"><span class="Apple-style-span" style="font-size:16px;"><span class="Apple-style-span" style="font-family:Verdana;font-size:100%;"><span class="Apple-style-span" style="font-size:11px;"><br /></span></span></span></span></p><p></p></div></div></div></div>Eve Denthttp://www.blogger.com/profile/08418100481630746889noreply@blogger.com0tag:blogger.com,1999:blog-2312574205470078129.post-58376097197402713232010-05-14T06:05:00.000-07:002011-04-07T06:58:28.387-07:00Anchor Series- Wolverhampton Art Gallery 2006<a href="http://2.bp.blogspot.com/-1Q582BKlcak/TZ3B7J4asLI/AAAAAAAAAGY/1g9dQRek1Tw/s1600/_DSC0114.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 200px; height: 134px;" src="http://2.bp.blogspot.com/-1Q582BKlcak/TZ3B7J4asLI/AAAAAAAAAGY/1g9dQRek1Tw/s200/_DSC0114.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5592839534273015986" /></a><br /><a href="http://4.bp.blogspot.com/-z0cHqmGJ2Rc/TZ23w5B51qI/AAAAAAAAAGI/NFInyhATYWE/s1600/wolvh.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 200px; height: 134px;" src="http://4.bp.blogspot.com/-z0cHqmGJ2Rc/TZ23w5B51qI/AAAAAAAAAGI/NFInyhATYWE/s200/wolvh.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5592828362834433698" /></a><div><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 134px; height: 200px;" src="http://3.bp.blogspot.com/-lvweTue6-YM/TZ23wtHZE-I/AAAAAAAAAGA/5nUXK2PANnM/s200/wolv.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5592828359636227042" /></div><div><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 200px; height: 134px;" src="http://4.bp.blogspot.com/-USRqCEBrTJs/TZ23wYkXy1I/AAAAAAAAAF4/mo3wrJsNojM/s200/staircase%253A%2Banchor%2Bseries%2B-%2BWolverhampton%2BArt%2BGallery%252C%2B2006.jpg" border="0" alt="" id="BLOGGER_PHOTO_ID_5592828354120633170" /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div><br /></div><div>photos Ming de Nasty</div>Eve Denthttp://www.blogger.com/profile/08418100481630746889noreply@blogger.com0