Vagina Arsehole Womb Anus O Live Art Bistro Leeds 2015

British artist Hannah Perry took over Manhattan during Frieze New York this year, with a solo evidence that opened on 3^rd May at Arsenal Contemporary entitledViruses Worth Spreading (on until 2^nd July 2017). That aforementioned week, she did a killer functioning in collaboration with composer and musician Adam Bainbridge, functioning curator Shazam Khan and clothing designer HYDRA. Combining, video, sculpture, installation, music and performance, Perry makes artworks with an urban tongue that jolt, stir and jump-cut their way through a collision class with form, gender, sex, ability and youth lifestyle. Employing lo-fi technologies, Perry layers and loops, samples and processes pieces of video footage, text and audio to create erratic, rhythmic artworks with not-linear narratives that give clues to the creative person's own lived experience. Hailing from Chester in the Due north Due west of England, Perry lives the life of a nomadic creative person, having lived for brief periods in Los Angeles, Montreal, Istanbul, Las Vegas and London over the last few years; however, her work (in particular, the sculptures) pays homage to the working grade aesthetic of northern England, using aluminium and crushed machine parts from an car trunk shop to reimagine a world of adolescent joyriding in pimped-out speedsters. For her New York solo show, Perry transformed the main gallery into a post-club crash pad with moody, imperial lighting, a dissever monitor hanging from the ceiling playing a new 20-minute unmarried aqueduct video and various duvets and cream mattresses for viewer seating.

Congrats on your solo exhibition at Arsenal Gimmicky in New York!  Allow's outset with the title –Viruses Worth Spreading. For me, it brings up promiscuity and feminine sexual desire, themes often considered taboo in our phallocentric lodge. Could you lot talk about the overriding themes in your new bear witness and how you overlay "gender" onto your work?

Within our phallus obsessed social club, I guess this is the equivalent of my dick shaped art. Promiscuous is a term that is well-nigh always used when speaking about a woman and it is pejorative. Although promiscuity is no longer viewed quite as negatively as it used to be, I would say mental health is much more than out of premises.

The themes swayed interchangeably between trauma, animalism, heartache and feet.  Imagined in a realm where relationships share equal footing in the virtual and real world—somewhere between online stalking, honey letters, sexts and selfies.

The title came from a line of a script that I wrote, conjuring the clichéd image of 'the hysterical woman' who has lost control. The text was written whilst researching and combined a mixture of that inquiry with memes, public posts online and personal emails that I volition never send.

The whole undercurrent of the show was an attempt to inhabit and have command of negative stereotypes attached to genders, playing up to something whilst at the same fourth dimension ridiculing it so linking female sexuality to a technological virus - which is capable of copying itself and typically has a detrimental effect, such as corrupting the organization or destroying data.

Delight tell me about your multi-sensorial installation atViruses Worth Spreadingfeaturing your new videoWeep Daggers. Is it important for you that the video sits within this darkened womb-like room? How do the diverse elements – warped walls, duvets covered in expanding foam and hair extensions, strapped-up foam mattresses, majestic lighting, footage of LA car rides and GIF-like selfies, and a script describing tales of revenge and sexual desire – fit together?

The script was written from producing a big collage of images, text impress-outs and handwriting - all gear up out like a listen map spanning the length of a wall in my studio. It came to life in iii parts. Firstly, in a drove of wall-based works that consisted of rephotographed, distilled close-ups from its original form (which I violently destroyed) on aluminium and plexi and combined with screen press. Secondly, as a running commentary through the video 'Cry Daggers', and finally as the narration to a live performance set three days after the opening.

For the installation, I brought the walls inward to create a curvy, body-similar, glowing infinite. The collection of beds and duvets were made out of marshmallowy similar material which had blond hair extensions and distorted foam mattresses upholstered in PVC, bound upwardly with industrial metal strapping.  It was nearly creating an intimacy within the space to experience and sentry the film, inviting people into bed similar sculptures and duvets to become wrapped up in.

The prototype of the auto body reoccurs time and time again inside my piece of work, the relics of some power play or machine crash sexual activity scene. Ruptured body parts were jump between sheets of plexi and hung in windows on scaffolding pipes. The impact imaged every bit a site of brute force, conjuring the clichéd image of both trauma and, this time lathered in a drippy gooey latex liquid, episodes of retaliation and animalism.

The possible relationships between femininity and hysteria, adulthood and industrialism are left to migrate somewhere in between contingency and essence, threaded through the intimate and the shared.

For this show, y'all as well presented a performance during the opening calendar week, working with several dancers, a choreographer, a composer and a wearable designer – all with an unmistakable youth culture/club vibe. How do you approach this process with its multitude of different human elements? How did this particular performance activate the installation space?

When I was writing the text I sat with iv girls, and together we had a think tank discussion on the themes around the work. So when it came to bringing that to life, information technology made sense to approach the performance collaboratively. Richie Shazam curated a group of performers, and we all lay together in the installation and watched 'Cry Daggers'. I then sent everyone in the group a recording of the script that they each went home and listened to. Each performer interpreted it in a dissimilar way, with a unlike intensity and hooked onto a specific element which resonated with them. In that location were moments where I choreographed sections or directed parts but at the core each performer had their ain specific estimation of the emotions and tone of the piece. This for me was the attribute that resonated the most.

I also sent the script recording to an incredibly talented musician producer chosen Adam Bainbridge who scored an amazing soundtrack for the piece, and lastly l I worked with Hydra SARTORIAL LATEX, a manner designer who shares a similar sensibility to materials I was engaging with in my work.

You famously quipped about 5 years ago, "I didn't stride into an art gallery until I was 18. It's reflected in my work. It is more about society than fine art history." What parts of "society" practise yous portray in your work?

I suppose I am talking about being from labouring class sensibilities as I come from a family of metal fabricators or service industry work and I accept a sense of pride in that.

When in NY, I watched the John Akomfrah art documentary at MOMA well-nigh Stuart Hall, the Jamaican-built-in cultural theorist and leader of the British New Left. It was incredible. I have been reading Stuart Halls' essay -In low life and high theory - where he talks about the connection between the life which working class people made for themselves in industrial lodge and the trunk of socialist theory which came out of it: 'the interpretation of theory and experience' focus on the 'spirit of collectiveness' which is also often scooped up, aestheticised, appropriated and fetishised.

Having had the opportunity to work with many young people on projects, peculiarly in South Eastward London, I realised that a lot of the misaligned youths that I was working with were artists of some kind, simply were born into the incorrect class, without sure resources. The mechanisms of social mobility, that existed when I was younger and enabled me to be situated in a privileged cultural space now, don't exist anymore unfortunately.

In the same way I work with gender in my work, existence working course means having an understanding of what it ways to experience an unjust socio-economical system. The reality of both of these concerns is things similar loan sharks praying on family members when they are broke and vulnerable or fighting for acknowledgement of your brownie and hard work when undermined with sexist comments. In that location is a difference between a genuine sense of community and a fake identification with a group

So not going to an art gallery until i was 18 was referring to social class and accessibility.

Congrats again on being office of the first group of artists to be in residence for the next two years in the neoclassical Somerset House overlooking the Thames in Central London!  How will yous use this new workspace? What are your plans for this residency?

Well, at the moment, I am doing a bunch of inductions in the Somerset Business firm workshops. It's an incredibly beautiful setting to be in and feels very Dickensian to exist there every day. It's a ii-year studio residency just also feels similar being back at art school: firstly, because of the sense of community among all of the artists and secondly, because of the amazing resources. When you finish art school, you lot await dorsum and retrieve of all the things you didn't quite get circular to learning, such every bit new processes and new materials, so it's a hazard to become back to that in a way. I am very lucky.

One last question… Equally a female person artist whose piece of work makes public your own private relationships and experiences, how practice you navigate this infinite where issues of voyeurism and ability relationships come to the fore?

A lot of my piece of work is mediated and fragmented through the procedure. Reprocessing, degrading, altering and defusing the images, video and sounds.

Conceptually, in the NY show, at that place are a lot of expressions of anger, trauma and grief through the posture of a relationship breaking down concluding yr and the emotions that spiralled out of that - such as acrimony, a sense of loss, hopelessness, injustice and grief. Looking back now, it was all a cloak or mask to coincide with the loss of my best friend and long term collaborator, Pete Morrow, who sadly took this life in January of last year. I worked with Pete on various performances, like at Boiler Room and V22 and countless other video and music projects. It was easier to reconcile with a breakdown than it was to procedure death. So at that place are many layers of public and many layers of individual. Working with personal content can be a vulnerable position but the vulnerability is the strength.

Voyeurism and power plays are unfortunately something that women have to grapple with within every area. Being unapologetic about those experiences is exactly what that prove was all almost.

Links

Hannah Perry: Viruses Worth Spreading, Arsenal Contemporary, New York (three May – 2 July 2017): http://www.arsenalmontreal.com/en/exhibitions/?t=now&w=new_york

Creative person's website: http://world wide web.hannahperry.com

Contemporary Fine Arts, Berlin website: http://www.cfa-berlin.de/artists/hannah_perry

Captions

All images courtesy of the artist and Armory Gimmicky, New York.

Image ane: Hannah Perry, installation view ofCry Daggers (HD video, 2017) inViruses Worth Spreading, Arsenal Gimmicky, New York, 2017.

Paradigm ii:Hannah Perry,Your Ass is Grass (And I'g Gonna Mow It) (2017), silkscreen on aluminium, digital perplex print on plexiglass, silkscreen on plexiglass, 152.4 10 182.88 cm.

Image 3:Hannah Perry,Cock Blocking(2017), foam, vinyl, steel strapping, 134.6 x 76.2 x 73.6 cm.

Epitome 4:Hannah Perry,Cucci Copey (detail)(2017), expanding foam, constructed pilus extensions, duvet vinyl, 139.7 x 205.7 x 35.5 cm.

Image 5:Hannah Perry, installation view ofPrettyandTrauma Junky(both 2017, plexiglass, crushed car parts, foam, latex) inViruses Worth Spreading, Arsenal Contemporary, New York, 2017.

Epitome 6:Hannah Perry, exhibition view ofViruses Worth Spreading, Arsenal Contemporary, New York, 2017.

Image 7:Hannah Perry, exhibition view ofViruses Worth Spreading, Arsenal Contemporary, New York, 2017.

Well-nigh the Artist

Born in Chester in 1984,Hannah Perry lives and works in London. She graduated from Goldsmiths College in 2009 and from the Royal Academy Schools in 2014. Her solo shows includeViruses Worth Spreading, Arsenal Contemporary, New York (2017);100 Problems, Contemporary Fine Arts, Berlin (2016);Mercury Retrograde, Seventeen, London (2015);You're gonna be great, Jeanine Hofland, Amsterdam (2015);Always, Steve Turner, Los Angeles (2015); andHannah Perry, Zabludowicz Collection, London (2012). Contempo institutional group-exhibitions include:If nosotros think bad, Arsenal Montreal (2016);Private Settings: Fine art Subsequently the Cyberspace, MOMA Warsaw;New Order II, Saatchi Gallery, London (2014);A sense of things, Zabludowicz Collection, London (2014);Culling Space from London: Arcadia Missa Off-Site, Astrup Fearnley Museet, Oslo (2014);Stedelijk at Trouw: Contemporary Art Club – Information, Stedelijk Museum, Amsterdam (2013);OPEN Middle SURGERY, Moving Museum, London (2013); andDropbox, Modernistic Fine art Oxford, Oxford (2013). Performances by the artist have been hosted at Boiler Room, London (2015); Serpentine Gallery, London (2014); David Roberts Art Foundation, London (2014); Barbican Gallery, London (2013); V22, London (2012) and Zabludowicz Collection, London (2012).

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