jessica laino clippings

limchoy lee clippings

jose felix perez clippings


HOTBED Miami 2010
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( One week after the HOTBED Miami exhibition had wrapped, sleeper came to our studio to share thoughts on distinct aspects of his experience in the project. Included here are a compendium of quotes. )

[ On the particular logistics of production ]

I moved the piece three times total in different stages. I finished it closer to where the fair was going to be and finished it there thinking I was going to have a closer exit and entrance through garage doors in both places. But both garage doors became blocked by other things and that ended up making us saw the whole thing in half. And we had to carry it with a bunch of people at an ungodly hour.

[ Question: did you accomplish what you wanted? ]

I was really happy to have accomplished a project that takes so much time to make, that cost that much money to make that's not usually available to me. Usually the scale is toned down, and that's part of the whole idea, of the artist and the level in their career-- what does the idea of the scale mean in comparison to the artist? Like, "I'm a big artist, I make big things." I think it's funny.

[ Question: are you now an artist who makes big things? ]

Oh no, that was a medium thing, it was a Miniature Monument.


( Days before moving out of his Little Haiti studio to another space in Wynwood, sleeper enlisted the help of friends to assemble a dome design framework for his piece. The framework was then sheathed in sheetrock and found clothing elements at his new studio space, as seen in his webcam movie excerpts below. )

ELABORATION: quotes from studio interview

The clothes pile in this piece became this kind of symbol of like, excess. All of the clothes come from dumpsters, particularly the ones filled with rejects from the donations to earthquake victims of Haiti. They've been deemed unfit for them, they're either too bright or too colorful, or too hot-- that I would agree with-- but they should just get everything, you know? I don't see why people are making these decisions to reject things. It's kind of sad people that donate don't know where these things are all going.

There's the idea of art being this precious thing, something somebody would want, that people are interested in seeing, whereas it was just garbage a second ago. That whole journey is important to me.

In process, all these different ideas come into the air and feed into the work, and ultimately when it's viewed these are not things that will particularly come to mind to the viewer. But it helps me in the construction of it to be thinking of these things, in building the aesthetic of it.

Basically I wanted to create this feeling that this character has so much, but it's all like, nothing really. A more humorous idea than somber. And I don't go into too much politics with my work either, it's more personal. I'm dealing with ideas of personality, how willing people are to disclose their true identity in such a masked scene that there is here, all the parties and clubs. I see people all dressed up, and it's so uncomfortably hot here-- "How could you wear that? You look really great, but, at what cost?"

So this [costume] is a representation of that kind of thing but to a different extreme. Where sometimes it's acceptable to show more skin, I completely do not. And in doing so, create this character where he's this mask, he's not who he really is.

Characters can become shapes, more geometric or more fluid, but nothing human. Something that is more reminiscent of like, confetti.


[ OCTOBER 26 ]

.sleeper Miniature : Monument

A reflective view on American consumer society, charity, ego, and art.

This piece was conceived from a previous work "what to wear" from the series "beneath this mask a disguise" where a figure's legs suggest both angst and leisure while smothered with clothes. The works in this series allude to ideas of creating one's identity under the microscope of societal constraints. The figure contemplates "what to wear" while covered in clothes deemed unfit for earthquake victims in Haiti. These ideas of luxury in times of depression, and people's desire to be charitable in this context interest me. Christian Boltanski also has found the alluring visual created by these piles represented in his piece "no man's land" 2010. He is interested in things that carry traces of lives lived. Having seen this piece of his, which is a huge jump from his photographic installations, I came up with this performative installation; Miniature : Monument.

While our conceptual focuses differ, this visual of the pile conjures grand possibilities for interpretation. My ideas of excess and vanity are in contrast with his ideas of loss and what remains. I want to draw a line connecting these three works I've mentioned. M:M is to be a medium sized installation in comparison to the WTW and NML, that incorporates concepts described above, including the idea of scale and how it relates to the artist. Many inferences are made in sculpture and in art in general about scale. Scale makes reference to level of importance, success, ability, effort; all things associated with ego or lack of.

This piece will be a conglomeration of the aesthetic of both our work, utilizing the pile as a visual reference to previous works, with added elements to better contextualize the piece. Beneath the pile there will be a cavity where one can hide from the madness of the fairs and Basel in general. In the exterior, a table will protrude from the pile, where the performer will occupy his time folding cloths from the piece. The installation will be accompanied by a mirror for the performer to contemplate as well as anyone else whose ego needs a touch up.

Reclaimed fabric
3 flat screen/dvd players