Spotlight on Intersections@5: Alyson Shotz

Shotz_Allusion of Gravity

Installation shot of Alyson Shotz’s Allusion of GravityPhoto: Lee Stalsworth

The Phillips celebrates the fifth anniversary of its Intersections contemporary art series with Intersections@5, an exhibition comprising work by 20 of the participating artists. In this blog series, each artist writes about his or her work on view.

The structure of this sculpture is inspired by looking at diagrams of space, mass, and how they interact to create the gravity we experience. I hope to allow the viewer to think about space in a different way: what is empty space, what does it look like, what shapes can it take?

Allusion of Gravity is made with clear, round glass beads which reflect the light and let the sculpture transform with the changing natural light during the day. Each bead also acts as a magnifying glass for all the other beads, creating many mini-sculptures within the larger sculpture.

Allusion of Gravity is one version of what I imagine empty space to be like. It was my first sculpture exploring the structure of space itself, and began a series I am still working on today.

Alyson Shotz

From Collage to Performance Art

In preparation for his upcoming performance in Dupont Circle, The Phillips Collection asks performance artist Jefferson Pinder questions about the event and his work at large.

Dark Matter 1_Matthew Clay-Robison

Still from Jefferson Pinder’s Dark Matter. Photo: Matthew Clay-Robison

What is your creative process like?
JP: My creative process is like a whirlwind. I’m gradually accumulating materials and ideas based on what I see and hear. I begin to make abstract and bizarre connections related to the world around me. I’m a passionate person and I have an urge to interact with things that inspire me. Images, music, people…I started my career working on collage and to this day I still consider that to be a part of my creative practice. I’m constantly attempting to put things together that might not completely match-up. That’s the challenge and inspiration for a lot of the work that I do.

What themes do you most often pursue?
JP: Most often I’m pursuing themes that deal with the black body. I come from a theatre background and I’ve learned over time how political the “black body” is in our society, so most of my work deals with conversations associated with this.

You’re also performing Dark Matter(s) at the Driskell Center the evening before your Dupont Circle performance. How do you feel the space will (or will not) change the experience?
JP: Since the Dupont Circle environment is open, I hope that we will attract a crowd of people that are not expecting to see performance art in that location. The piece was designed to be performed outdoors, so I think onlookers will be surprised to see stylized, socially-conscious breakdancing in Dupont Circle. This brings the performance to the people. I don’t know how often The Phillips Collection has the opportunity to communicate with the public this way.

What is most challenging about being a performance artist?
JP: With a project like this there are logistical challenges. Directing seven professional dancers to speak as one is a challenge as well. The B-boy spirit is a strong and independent force. Working together politically is a new paradigm. Most people believe that an artistic practice involves solitude, paint brushes, a moody spirit…for a performance artist who works collaboratively the challenge is to work successfully with other talent. To be able to step aside and understand that my selected performers are the best people to execute my vision is tough. Sometimes you want to believe that your practice is all your own, but for me, I am the director in this piece. I am the impresario of sorts—making sure everything happens the way I want it to, the way it needs to happen. I think a lot of folks don’t understand the complexity of an endeavor such as this; we will walk a tightrope between being didactic and entertaining. Hopefully we will find the poetry that lies in between.

How do you think your performance speaks to the DC community?
JP: I don’t know exactly how my work will speak specifically to the DC community, but for as long as I can remember, I don’t think anything quite like this has been done in Dupont Circle. Obviously there are political undertones that DC is constantly dealing with regarding race and class, but my focus is making a work that speaks to the physicality of uprisings. In general, I think artists can only be responsible for making good work. How it resonates will depend on who shows up and how the performance plays out. This is my focus. I want to be sure that all of the performers are giving their all and that the environment is right for an amazing piece.

John F. Simon Jr.’s Creative Process

Intersections @ 5 artist John F. Simon Jr. thinks of his work Linear Moments as “a metaphor for the creative process. We begin with some idea of what we’re going to make and then as the creative process grows, the meaning grows, and the piece itself gets larger and larger.”