sarah bricke
504/GWT

is a transdisciplinary artist, writer, and researcher working along the intersections of gender, sexuality, critical theory, and notions of the archive. her process and projects are distilled from the ways in which seemingly disparate landscapes, bodies, and processes are both distinct and inextricably linked, and how these paradoxical relationships are represented, perceived, and preserved through institutional and archival practices.

working through photographic processes, performative lecture, nonlinear narrative, and poetry, she engages in the production of objects and images as a mechanism to facilitate
dialogues around them. she is involved with making as a continual process in which things don’t become fully defined and can’t be considered completely understood or fully realized. bricke’s  work frequently utilizes fragmentary pieces or remains that can be taken apart and reconstructed, transferred into different forms, or become part of new cycles. 

ongoing artistic and research interests concern art that arises in the ruins of the built environment, artistic practitioners who create long-term and/or large-scale work without receiving recognition or institutional support, and those who make work in the face of oppression, disempowerment, or victimization. 

it will be difficult to distinguish the presentation of the work from the work itself.

the work deliberately engages the dissolution of such boundaries.

how is the documentation of the work encountered by the observer?

the work is the presentation of the work - its/it’s representation and replication via this platform.



01 working conditions 

The project positions itself as an ongoing work in several iterations, or volumes, expanding across media over time. These volumes will take such forms as performance activations, publications, conversations, events, gestures, and media interventions. working conditions seeks to engage broadly with interlocutors, conspirators, malcontents, and collaborators. It is activated at the conjunction of art / work.

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02 the.stationary.boat

the.stationary.boat considers the formation and reformation of identities, processes of metamorphosis, paradoxical relationships, and temporality through a prolonged engagement with philosophical thought experiments.

This project is currently unfolding on instagram: @the.stationary.boat


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03 thy sheep shall take no harm

A mechanism for observation, availing itself of existing complex connections between three interrelated works. Combinatory elements trigger the production of images which become departure points for the proliferation of yet more images, achieved via an ongoing, automatic photographic process.

Under ever-present surveillance, the proliferation of images is pervasive and overwhelming. Irreconcilability between interpretations and ambiguities of images erode stability; temporal disruptions and shifting phenomenological perspectives disrupt the possibility of arriving at a simple definition.


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04 ONAN 

in progress

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05 now and then

An ongoing, multi-part transmedia project that includes a lecture essay, a series of recorded conversations, original text compositions, and slideshow presentations of images, and a work of electronic literature.  

The project is centered around notions of archival fluidity and futurity and a sustained engagement with the artistic output and archival materials of the photographer Alvin Baltrop. Artistic and academic research methodologies have informed an exploration of the reframes that collaborative dialogue might assume, with multiple possible pathways of access to and from it.

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06 forms of refusal 

in progress

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07 the order of the order of things 

Taking as its source material the preface of Michel Foucault’s The Order of Things, in which the author references Jorge Luis Borges’ invented encyclopaedia which posited that all the animals in the world fall into fourteen categories.

The project utilizes the digitized holdings of the Smithsonian to find source images for the categories outlined by Borges. The systems of classification proposed by Foucault, Borges, and the Smithsonian intersect in this work, which suggests that all classifications are perhaps inherently arbitrary. Subsequent re-orderings and re-produced versions of this visual re-presentation further question the ordering of the order of things.
 

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08 baby driver

In its first form, baby driver evolved as a slow process involving the collection of found and sought-after objects, fragmented text excerpts, and transferred images of carrion as a visual consideration of the novel Baby Driver. Authored by Jan Kerouac (the only child, largely unacknowledged, of beat generation novelist Jack Kerouac) the book describes the author’s life through a series of autobiographical episodes. As this project continues, it moves across experimental lecture, poetry, and performance.

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3912—21/45  quis custodiet ipsos custodes