Prospect Art is pleased to have commissioned Ms. Culling appropriated footage from the media, such as commercials, films, and music videos, the work considers how concepts of nature and commodity are used to both validate and scrutinize women and people of color in relation to diamonds. S tephanie Deumer is a Canadian visual artist currently living and working in Los Angeles, California. Her multi-media installations often highlight interrelations between different kinds of reproductionβincluding biological, visual, mechanical, and social.
Complexities of female identity formation figure prominently, specifically in relation to language, media, science, and technology. As part of her continued exploration of simulacra and immersive environments, the work brought to life the spectacle of biological reproduction through technological and visual means.
As time passes, and as spaces, objects, ideas, imaginations, and memories make transcontinental journeys at light speed, one is bound to think if some memories, some sections of pasts and futures, some objects, some time-lags, some undiscovered seeds, some branches with half-ripened fruits, some dust, desires, and restlessness - escape through the wormholes of these speeding tunnels.
Do these escaped living artifacts take the shape of earworms, which get stuck in our heads as sounds, or knocks on the door when no one is really there, or untimely strikes of numbness that feel like ants walking? It is almost as if these ever-pervasive stimuli, without articulate origins, reproduce and construct parallel lives-languages as loophole forms of consciousness - beneath our skins and the air we inhale.
Canadian artist Stephanie Deumer picks one such preservative-like, myth-making living artifact that balances at the tips of our lost tails - appearing in places where tails brush through but miss the eye. How did things come to be? Not as they are now, but in the first place itself�
