Aelita Parizek

aelitaparizek.com

shell (growing)

2018 Silicone, pigment, metal, beads, fiberfill 18 in x 6 in x 8 inlotus pod I, 2019 Silicone, pigment, faux fur, LED lights, J Lube, water beads 5 ft x 5 ft x 2 ft This piece and its liquid contents are intended to be touched by the viewer

lotus pod I

2019 Silicone, pigment, faux fur, LED lights, J Lube, water beads 5 ft x 5 ft x 2 ft This piece and its liquid contents are intended to be touched by the viewer

lotus pod I documentation stills

lotus eggs (still)

2018 Digital video (looped for installation) Running time: 1:50, Excerpt: 00:27
Private link: https://vimeo.com/309074190
Password: portfolio

floral anus

2018 silicone, pigment, faux fur, beads, plexiglass, acrylic, lights 4 ft x 2 ft x 2 ft 2.

excision I (still)

2018 Digital video Running time: 00:52, Excerpt: 00:52
Private link: https://vimeo.com/309073648
Password: portfolio

fleshment notes (detail)

2019

enfleshment notes (detail)

2019
Silicone, pigment, beads, human hair, organic matter, wood, clay
3 ft x 2.5 ft
This piece is intended to be touched by the viewer

Artist Statement

For the past year I have been meditating on the term “transintimacy.” Under the guidance of this term and through my transgender subjectivity, I am developing material explorations and
a theoretical framework to explore forms of intimacy and embodiment that breech the separation between attraction and repulsion, beauty and abjection, genesis and death. Drawing from visual
references in non-mammal entities like mollusks, corals, and seed pods, as well as epidermoid cysts and other skin ailments that generate abject material, I create silicone objects meant to be
touched and handled by the viewer. Other organic or faux-organic matter is suspended at the surface of some of these objects, and I fill their various pores and orifices with slimy fluids or
pods that can be squeezed or popped out. This work so far has facilitated encounters which begin with a viewer’s attraction to an art object with the possibility of direct contact, and then morph
into repulsion upon closer inspection. The animacy and agency of these objects is always in question. Ultimately, I am obliquely alluding to an encounter with the queer and trans body,
bodies whose enfleshment, movement, reproduction, and very existence are inscrutable within a cis-hetero lens of embodiment.