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.



Pink White Frame_AuroraPellizzi copy Pink Black Frame_AuroraPellizzi copy White Blue Red Frame_AuroraPellizzi copy Red Blue Frame_AuroraPellizzi copy Green Pink Frame_AuroraPellizzi copy Green Blue Frame_AuroraPellizzi copy Green Black Frame_AuroraPellizzi copy White Frame_AuroraPellizzi copy White Frame (side view)_AuroraPellizzi

Black Frame (side view)_AuroraPellizzi

This series of silkscreened prints explores the concept referred to in design and painting as the “figure-ground relationship” where a balance between the shapes and space in an image is attained through a blurring of the distinctions between the figurative elements and the ground.

The image is taken from a photograph of a frame on a renaissance painting in the Metropolitan Museum of Art in New York. The image has been separated into 3 different silkscreen plates that don’t fully line up with each other. This tension allows each plate to surface as a different plane.

Colors are chosen and manipulated to create a reversible or ambiguous space between the interior and exterior spaces of the figure (the frame). The allowance of chance and gesture in the production of these plates elevates them from a prescribed existence as serially produced images, to that of unique painterly objects.





Greenscreen_Volcano (Cuernavaca), 2011, giber-glass & resin, 6 x 5 feet.

Greenscreen_Volcano (Cuernavaca) is a free standing outdoor sculpture slightly flexible and impermeable to the weather. It is the third in a series of three dimensional paintings made out of 12 x 12 foot gesso-primed canvas circles that stand upright on their inner folds, baring their own weight. This is a translucent resin and fiberglass cast of one of these paintings.

This sculpture was built with the participation of university students from the Centro Morelense de las Artes (CEMA), Cuernavaca, Mexico: Sandra Castillo, Alejandro Equihua, Lulú Herrera, Paola Mesa, Jorge Román; with the special assistance of Angel Rodríguez, and the supervision of Alejandro Cortés.