IMG_3490a_lores.jpg
24 hoodies with black tags and labels
(available: S/M/L, 50% poly, 50% cotton),
wooden hangers, metal stand
$39.99 each or $3000 for the entire work (makes no sense whatsover)
Site-specific work made for the occasion of the 2013 Miami art fairs. Available at Catharine Clark Gallery, Booth #403, Miami Project, Dec. 3-8, 2013
cclarkgallery.com/exhibitions/art-fair-miami-project
PROJECT STATEMENT:
Made for the occasion of the 2013 Miami art fairs, Stephanie Syjuco's work furthers her interests in the complexities of art commodities, while pairing it with the recent Trayvon Martin controversy that took place in Florida during the recent year. In the aftermath of the furor over the acquittal of George Zimmerman, there were whispers in the art community of boycotting the upcoming art fairs in order to divest from Florida's economy (an act which never materialized). By calling attention to this recent history, her work questions the nature of art markets, commodities, and the fraught complications of addressing politics while embedded within economic institutions. The resulting work is about frustration and short-term memory, an attempt at silently partaking in a system we are all complicit in.
IMG_3490a_lores.jpg
24 hoodies with black tags and labels
(available: S/M/L, 50% poly, 50% cotton),
wooden hangers, metal stand
$39.99 each or $3000 for the entire work (makes no sense whatsover)
Site-specific work made for the occasion of the 2013 Miami art fairs. Available at Catharine Clark Gallery, Booth #403, Miami Project, Dec. 3-8, 2013
cclarkgallery.com/exhibitions/art-fair-miami-project
PROJECT STATEMENT:
Made for the occasion of the 2013 Miami art fairs, Stephanie Syjuco's work furthers her interests in the complexities of art commodities, while pairing it with the recent Trayvon Martin controversy that took place in Florida during the recent year. In the aftermath of the furor over the acquittal of George Zimmerman, there were whispers in the art community of boycotting the upcoming art fairs in order to divest from Florida's economy (an act which never materialized). By calling attention to this recent history, her work questions the nature of art markets, commodities, and the fraught complications of addressing politics while embedded within economic institutions. The resulting work is about frustration and short-term memory, an attempt at silently partaking in a system we are all complicit in.