Louie Vuitton, 2013

Louie Vuitton

Louie Vuitton, 2013, silkscreen on paper, 24 x 32 inches, edition of 20.

In 2007, I commissioned a group of woven bracelets from Juan Flores, an artisan from Tlamacazapa, Guerrero, Mexico, a Nahuatl-speaking town where woven goods have been created and traded since pre-Hispanic times. I gave Juan a list of clothing-designer names to weave into the bracelets. He chose the colors for each bracelet depending on his own judgment and inspiration. Sometimes the synchronicity between the color combination and a particular brand was uncanny and at other times it was completely dichotomous.

Focusing on the particular color combinations, I began paring the bracelets with larger hand-woven textiles with similar coloring and patterns, creating new compositions. By separating the colors for the two-tone silkscreen prints the bracelet merges with the background fabric, weaving itself in, confusing the foreground with the background, the label and the textile. I decided to single out the Louie Vuitton bracelet because it is one of the brands that most fully represents a level of luxury that is completely unaccessible and unfamiliar to Juan Flores; so much so that he accidentally misspelled its name.



Girls Will Be Beuys (Made in Mexico)_front view_AuroraPellizzi

Girls Will Be Beuys (Made in Mexico)_side view_AuroraPellizzi

Girls Will Be Beuys (Made in Mexico), 2006, acrylic felt, dimensions variable.

Girls will be Beuys is a hand-tailored three-piece suit made out of industrial acrylic felt. This suit is made in reference to a series of grey wool felt suit-pieces by Joseph Beuys. Alternatively, this suit is made of an acrylic felt material used in Mexican folkloric crafts and costumes, in a color typically described as rosa mexicano. The color is feminine, folkloric, and kitsch. Like Joseph Beuys’ Filzangung, the piece hangs on the gallery wall as a dormant shape waiting to be activated through ritual and performance. This pink suit is an embodiment of both the spirit and teachings of Joseph Beuys on shamanism and art, as well as an expression of a feminine presence in art and culture.

This piece was produced by a cooperative of seamstresses in Taxco, Mexico with whom I have been collaborating for the past several years.



00:00:00;00, 2013, multi-channel video installation, dimensions variable.

The series 00:00:00;00 is a digital video interpretation of the painting series 99% Cotton. Wandering across the painted surfaces in different hand-held rhythms and directions, the videos reintroduce the elements of gesture and time into the painted objects. Movement and pacing create a dynamic contemplative space. The digital layer reveals the presence of the painted work in time and space. Painting, as an accumulation of gesture, is expressed by the hypnotic interlacing of gestural movement in digital time.

Instead of experiencing the painted image as an object on a wall, it is appreciated through a guided accumulation of perspectives and angles captured by a moving camera. The physical space between the viewer and the painting is heightened by the changing space between the camera and the painted surface. The work of art and its interpretation are as ever changing as the technology used to make and represent it; in this case, the interpretation itself becomes a new work of art.

00:00:00;00 was exhibited in SPRING/BREAK Art Show as a multichannel video installation. The videos were projected onto stretched translucent screens suspended within a narrow closet space.