92 Theses (Journals 76 & 77) is the beginning of an exploration of how epistolary fiction can express itself in artifacts and objects, and how the gallery space changes our experience of said objects and the experience of narrative in immersive spaces vs. traditional formats.
From the artist statement on the project: "Alice Hadley isn’t real, inasmuch as she has no Social Security number, birth certificate, or corporeal presence. But Alice was real in those two months in 2008 when I disappeared from classes at Purdue, in the musty over-the-garage apartment of an old high school friend who never left her parents’ home, in the awkward tension during my first and last group therapy session I ever attended in high school. She is a conglomeration of so many young women I have known, mostly in my hometown of Mooresville, Indiana. In many ways, Alice could have been me in the darkest timeline: an intelligent and creative woman, paralyzed by anxiety and agoraphobia, withdraws from society save for her family and one chosen friend. The further she hides, the more distorted her view becomes. But there comes a point, when you’re closer to thirty than twenty, when the internalized question of achievement comes into play. Have I wasted my time? Am I on the right track? Am I the right kind of adult? And, on the eve of her ten-year high school reunion, Alice had this moment tenfold. 92 Theses (Journals 76 & 77) is a record of Alice’s attempt to carpe diem, spurned on by the mood swings she’s subjected to and the goading of the one friend she’s ever kept, by using my connection to the art world and the bestowed importance of said art world as institution and maker of taste."
Next project: → i love you darlin', but you'll tear me apart
Previous project: ← Depersonalization as Escape Behavior