Tori Keefe

keefv751@newschool.edu

Telomere, 2018

Found Dollhouse (length x 31 x 13.5in), Wood, Plaster, Canvas, Steel, Acrylic Mirror, Sheep’s wool, wire, Acrylic Mirror (30 x 24in)

(Interior detail of wall installation) Telomere, 2018

Found Dollhouse (length x 31 x 13.5in), Wood, Plaster, Canvas, Steel, Acrylic Mirror, Sheep’s wool, wire, Acrylic Mirror (30 x 24in)

(Interior detail of dollhouse) Telomere, 2018

Found Dollhouse (length x 31 x 13.5in), Wood, Plaster, Canvas, Steel, Acrylic Mirror, Sheep’s wool, wire, Acrylic Mirror (30 x 24in)

Inverted Pinholes, 2018

Dimensions Variable

Body, 2018

Primed Canvas, Epoxy, Polymer Clay (18 x 24 in)

Fragmented Body, 2018

Primed Canvas, Acrylic Mirror, Graphite (18 x 24 in)

(Detail) Fragmented Body, 2018

Primed Canvas, Acrylic Mirror, Graphite, (18 x 24 in)

Backwards, Forewords I, 2019

Found T.V., mirror, cedar, projector

Backwards, Forewords II 2019 (Detail)

Found T.V., mirror, cedar, projector, polymer clay

Backwards, Forewords II 2019

Found T.V., mirror, cedar, projector, polymer clay

Artist Statement

I repurpose my parents’ objects as a metaphorical incision of the self.  I conduct this excavation and presentation of decayed or unwanted objects to expose the power which perceptions of the self have over perceptions of materiality. By comparing abstract conceptual structures within science and theory to more tangible structures like rooms and objects, I intend to uncover the fantasies which attach themselves to objects but also to ideas like time, space, and consciousness.

This inquiry resulted in my installation Telomere, 2018; composed primarily of an inherited, dilapidated 100 year old dollhouse, plaster, and a stretched canvas. The dollhouse’s precarious contact with the ground and the abstract, white plaster-cast elements it housed imply its role as a metaphor for something ethereal and exterior to the house itself that is evocative of memory. Also exterior to the dollhouse, Telomere included a shelf-like wall installation composed of the dollhouse’s fallen pieces. This served as a metaphorical renovation of the dollhouse.

In another installation, Inverted Pinholes, 2018, I identified and drilled into each pinhole in my studio; inserting hand-rolled clay structures of varying lengths and shades of white to imply their relationship to the the white wall which they inhabit.

These works’ meeting of past and present through materiality and feeling should call upon the viewer’s memories to highlight the omnipresent relationship between projection and metaphor that rules consciousness.