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GMU:Provokative Architektur/Bixby (view source)
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ARCHEOLOGY, EXCAVATION, AND WHAT REMAINS | ARCHEOLOGY, EXCAVATION, AND WHAT REMAINS | ||
In his installation Archeology, Excavation, And What Remains (2012), Bixby uses tilted perspective, angular lines, and clutter to accentuate the organized chaos of a scene. A woman sits in the corner of a room, leaning forward with her feet hanging above a glowing red rectangular hole in the floor and a bloodied knife in her right hand. A large, black, room-dividing mirror acts as a foreground for the scene. A man’s jacket and hat on the floor next to the woman indicate the recent disrobing of the victim. | In his installation ''Archeology, Excavation, And What Remains'' (2012), Bixby uses tilted perspective, angular lines, and clutter to accentuate the organized chaos of a scene. A woman sits in the corner of a room, leaning forward with her feet hanging above a glowing red rectangular hole in the floor and a bloodied knife in her right hand. A large, black, room-dividing mirror acts as a foreground for the scene. A man’s jacket and hat on the floor next to the woman indicate the recent disrobing of the victim. | ||
Bixby leads the viewer to the perpetrator through his canny arrangement of objects on the floor, directing the eye up the middle of the image through the shovel leaning against the wall, to the pile of dirt, and onto the tall mirror with a baby doll at its base mimicking the woman’s glossy-eyed expression. One is left to puzzle out the location of the missing body. On the floor in the foreground, a neatly arranged flower arrangement along with a dark-colored bottle, suggest a nonviolent prelude to the murder that we assume followed. | Bixby leads the viewer to the perpetrator through his canny arrangement of objects on the floor, directing the eye up the middle of the image through the shovel leaning against the wall, to the pile of dirt, and onto the tall mirror with a baby doll at its base mimicking the woman’s glossy-eyed expression. One is left to puzzle out the location of the missing body. On the floor in the foreground, a neatly arranged flower arrangement along with a dark-colored bottle, suggest a nonviolent prelude to the murder that we assume followed. | ||
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The profusion of images of Eve, Circe, Medusa, Judith, and Salome in art and literature around 1900 gives vivid testimony to an unprecedented dread of female sexuality and its homicidal power. Bixby suggests that the representations of sexual murder are not just eviscerated female bodies in lewd positions, but that the subject matter is lustful. The German term Lustmord implies desire or pleasure along with sexual gain from the murderous act or representation. | The profusion of images of Eve, Circe, Medusa, Judith, and Salome in art and literature around 1900 gives vivid testimony to an unprecedented dread of female sexuality and its homicidal power. Bixby suggests that the representations of sexual murder are not just eviscerated female bodies in lewd positions, but that the subject matter is lustful. The German term Lustmord implies desire or pleasure along with sexual gain from the murderous act or representation. | ||
Archeology, Excavation, And What Remains is a sustained reflection on the relationships between gender, crime, violence and representation, part of a series of works titled Death and Resurrection. | ''Archeology, Excavation, And What Remains'' is a sustained reflection on the relationships between gender, crime, violence and representation, part of a series of works titled ''Death and Resurrection''. | ||
PDF Text Document: | PDF Text Document: | ||