100 Dresses artist statement
There are lots of naked ladies in art.
Their dresses must be somewhere.
Last spring I painted 100 Dresses as a studio residency at Studio 204 in
Whitehorse. After 40 dresses, you run out of ideas. Everything, everyone
that came into the studio, the weather I walked through to get there, the
stories people told me, all became fair game to be made into a dress. I
fell in love with the idea of painting sets of 100 dresses as a way of
responding to the details, dreams and realities of one particular place at
that particular time. This seems like a form of landscape painting.
People ask, why dresses? Basically, they're a kind of pretext for the
project, just a reason to start. They're fun. Everyone, whether or not he or
she wears them, has a relationship to a dress. In that relationship, there is
room for a play of imagination.
1. Dress behavin' like a downtown
Juneau, April 2008
Cattail dress with
fluffy feather boa
in the snow
A dress with no one inside it contains the invitation
to try it on. An imaginary dress with no one inside it
invites the viewer to try on an idea.
This combination of an interactive residency and
show invites the public to play as well.
Most recently, in Juneau, I have loved the way
children love this show. A three year old boy said,
"Isn't it funny how they're dresses and something
else at the same time." A six year old boy looked at
them and chortled. He said, "Dad doesn't know
what he's missing," and ran and got his Dad in from
the car. He dragged him around the show, pointing
and laughing. "You've got to see this one..."
Flame job dress