Counter-Memories
Drawing on the Situationist strategy of détournement, this work disrupts the passive consumption of art history by treating cultural artifacts as sites of inquiry rather than fixed meaning. The process involves working directly on torn pages from art monographs, printing appropriated titles from mid-century erotic pulp fiction in aggressive red gothic type across canonical reproductions. These collisions expose the constructed hierarchies separating “high” from “low,” while producing an implicit collaboration with the artists and original book designers–whether intended or not.
In related works, flat planes of saturated blue obscure found photographic images, functioning simultaneously as modernist gestures and censorship marks. Together, these geometric interventions into the material of art history question how cultural memory is constructed, preserved, and controlled.
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9.25 x 11.5 inches
Identity and Alterity, La Biennale di Venezia (1995)
2025 (ongoing)