deconstructionworker.com
Email: Zoefitzr@gmail.com
Instagram: @Zfitzr
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NET
2020. Wool, Upper Bay. Early studies of water in Sunset Park and absorption.
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NET
2020. Wool, Upper Bay. Early studies of water in Sunset Park and absorption.
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NET II
2020. Research of circumventive modes of access to water
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Verrazano
2021, Digital Image. Research of border points of public health policy.
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Untrained Amateur
2022. Marine Grade Plywood, Salvaged wood, Titebond III, Steel, Fiberglas, Cadmium Orange, Cadmium Red, Crap Green, Iron Oxide, Ultramarine Blue, Ultramarine Purple, Graphite, Thompson's Waterseal, duct tape salvaged/sourced from commercial fisher in Long Island, fishing net, rope. 4' x 8'.
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Untrained Amateur
2022. Performance, duration variable. Photographer: Charles Park, Special thanks to: Ben Gabriel, Samuel Lang Budin. Graham Birge.
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Untrained Amateur
2022. Performance, duration variable. Photographer: Charles Park, Special thanks to: Ben Gabriel, Samuel Lang Budin. Graham Birge.
Artist Statement
Untrained Amateur reimagines accessibility to New York City water through materiality, craft, and open-source research. The project investigates toxicity and healing by centering autonomous agency and creating multiple levels of intimacy with material.
This project focuses on ecosystems in the Upper and Lower Bays beginning in Red Hook and ending beyond the Verrazano Bridge. In Sunset Park and Bay Ridge, water and its ecology are simultaneously separated by imagined borders and are able to move beyond the policies placed on them. Untrained Amateur reflects on environmental damage in relation to harms on human health through New York State Department of Health policy discourse—calling attention to the relationship between geologic systems and Western scientific structures of assimilative capacity: the theory that certain levels of pollutants can be absorbed by a body, environmentally or physically, without detrimental effects to the environment or those who use it.
This work visualizes current public health policies through a vessel that offers a circumventive mode of access to the Bays, painted with pigments directly linked to the history and presence of pollution in the water, and paintings that explore the imagined life cycles of pollutants after ingestion in the body according to the different policy areas applied to the same body of water.
Sources:
Pollution is Colonialism, Max Liboiron, 2021, Duke University Press
A Billion Black Anthropocenes or None, Kathryn Yusoff, 2018, University of Minnesota Press
Caliban and the Witch, Silvia Federici, 2004, Autonomedia
Zoë Fitzpatrick Rogers (b.1994, United Kingdom) is a New York City-based interdisciplinary artist, working across traditional folk art methodologies and contemporary socio-political infrastructures. Rogers’s current practice is research based, using the water of New York City as a medium, exploring environment, pollution, and separation through ubiquity. Through this research, they navigate interpersonal relationships between shared resources and socio-historical conditions of spaces.
Rogers has recently participated in Swarm Artist Residency (2021, digital), and AfA Masterclass: Radical Care (2020, digital), and was an Artist in Residence at Birmingham City University (2018–2019). They completed undergraduate studies at The Glasgow School of Art in 2016, winning the Widening Participation: Student Choice Award and was shortlisted for the New Designer of the Year Award at New Designers, London. They have exhibited in Italy, Poland, the United Kingdom, and the United States.