'Re-covered'

“FOR YOU”1994 Installation (Oil paintings 24" x 36", fabric, concrete)


Under       it is black    there is a room , there are lights      there is a room  beyond.            The lights shine on three pictures  weakly,                the pictures  are behind curtains,            black folds satin curtains.                In the  next room  something is moving.                    Two beams of light meet in the ce
{ntre there is an image     dancing on glass                sound of water                             there is water on the glass     and a  woman.            A face                                     disappears                She moves slowly, in parts                                                    Woman in a bath. Candlelit sequence, crying with condensation.                                        The body is a screen. Caught in movement. The camera snatches- the SNAP SHOT. Caught in a square, a snare.
A murderous glance.                     Mirror with a memory. Memory with a mirror. Blending with the image. Touching the surface, peeling away from the glass. The camera and glass converse, the body is trapped between.    
The glass is lens, the mirror is glass, the body is seen.
She sees herself as the mirror finds her. She sees herself as the camera finds her. There is an inbetween.                        The body is on the screen. The body is the screen. The screen is the mirror. The mirror is the memory. The memory is the absence. The surface hides the abs
ence.
When the imagination is imprisoned, all things are as they appear to be.            
“ We know the world if we accept it as the camera records it”
but  all discovery begins at  a point of rejection of appearances.Photography is painting with light    IT CATCHES  a glimpse, a blink.
Painting is loitering with intent , stretching the moment
The photograph is filled with a  promise, a memory. Momentary and elusive, fragile and contradictory, open to chance.


  • A series of 'blind' self portraits examining how 'self' can be discovered or invented with the use of mirrors, water and other liquids.
    29/03/2013
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    Re-covered 1992-4
    A series of 'blind' self portraits examining how 'self' can be discovered or invented with the use of mirrors, water and other liquids.
  • The body, for Foucault, Deleuze, Iraguray, and others is an historical, political object, through (and over) which the relations of power and resistance are played. The female body has been claimed, staked out for centuries; from the first chapter of the bible it is defined as that which is corrupted and corrupting.
    15/07/2016
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    Re-Covered - Artist Statement
    The body, for Foucault, Deleuze, Iraguray, and others is an historical, political object, through (and over) which the relations of power and resistance are played. The female body has been claimed, staked out for centuries; from the first chapter of the bible it is defined as that which is corrupted and corrupting.
  • Images from the 'Re-covered' series from sketchbooks and handprints printed by the artist in small editions dating from 1994 to 2001.
    29/03/2013
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    Re-Covered Images from the Series
    Images from the 'Re-covered' series from sketchbooks and handprints printed by the artist in small editions dating from 1994 to 2001.
  • Joe Babas, Neke Carson, Iris Chalit, Kate Craw, Lisa Creagh, Carlos Cruz, Katherine di Monda, Jason Freeny, Stephen Gaffnew, David Hochbaum, Heidi Johnson, Pete Kelly, Bernice Sokol Kramer, Alexandra Limpert, Jacob Fuglsang Mikkelsen, Cecelia Omalm, Patricia jo Peacock, Ann Marie Ploug, Jennifer Ribbe, Paul Richard, Kertin Roolfs, Andrew Sendor, Polina Sirosh, Amanda Watt
    01/02/2017
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    Peep Show, NYC, 2001
    Joe Babas, Neke Carson, Iris Chalit, Kate Craw, Lisa Creagh, Carlos Cruz, Katherine di Monda, Jason Freeny, Stephen Gaffnew, David Hochbaum, Heidi Johnson, Pete Kelly, Bernice Sokol Kramer, Alexandra Limpert, Jacob Fuglsang Mikkelsen, Cecelia Omalm, Patricia jo Peacock, Ann Marie Ploug, Jennifer Ribbe, Paul Richard, Kertin Roolfs, Andrew Sendor, Polina Sirosh, Amanda Watt
© Lisa Creagh 2017