Kelly Clare is a visual artist and writer currently pursuing an MFA in Sculpture at the University of Iowa. Recently, she was an artist in residence at the Vermont Studio Center and curator for the Terrain Biennial. Before moving to Iowa, she graduated from Knox College in Galesburg, IL. Her visual and literary work can be found at Hobart, Tagvverk, APARTMENT, pulpmouth, and Natural Bridge.
Objects function within their own systems of scarcity and materiality. My installation and video works employ everyday items like oranges, ironing boards, rope, milk, and scavenged video. Far from the perceived endlessness of language (I can say the word “fishing pole” for years without one ever being present) objects require finite resources. In a culture at a moment of infrastructural pre-collapse, this material constraint makes a space for possibility, and the inclusion of letterforms opens up a potential further beyond that material confinement. The premise of the decoy--something both present and absent, a suspension of the real, a joke and a trick--is one of visual and contextual play. Rather than indulging in an aesthetic of apocalyptic fear, these three videos (made of electronically produced light that remembers milk, anagrams in ice, basement windows in an April snowstorm) reimagine new systems by using what is on hand.
Digital Gallery of CSPS Hall
When given the material possibility, language makes and unmakes itself. As the ice letters melt, they self-assemble into new anagrams, odd shapes, markings and hieroglyphics.
Made in April 2020, all screens considers the sudden spatial discord of a pandemic and the confusion of digital space. Placed in the interstitial zone between the inside and the outside of our physical houses, the video endlessly loops to ask if the digital is a decoy to inhibit illness, an endless false location, or a conduit to send, as Muriel Rukeyser wrote, "signals across vast distances."