Beth Anderson (She/her)
My practice involves forming works of suspension, work that present
opportunity for new perspectives upon approaching reality, for
myself and for the viewer. I’m interested in manufacturing moments
in which the viewer is solidified as the protagonist. By this I mean I
wish to create work that leaves a mark on the individual viewers,
which can be pinpointed, admired and recollected for their own
Hold GSA Accountable
Everything I Have Is In My Hands
Short film and audio work placed on and off the set; chair, table,
carpet, plant insects.
Drawing upon themes of dread, anxiety and control, this growing
work is a product of an exploration into a relationship between
horror media, perception and giving space for fear to sit. The work
aims to act as a physical manifestation of a save room, a point of rest
and reflection in the preparation for progress.
As the sun sets, it is unknown what the night will bring.
Please equip the headphones and take a seat.
Everywhere, Eyeballs Are Aflame
Working with ambient sound in the aim to create a soundscape that invokes feelings that are part uneasy and part comfort. The title, Everywhere, Eyeballs Are Aflame, is taken from a series of etchings by Odilon Redon, which was in turn was inspired by Gustave Flaubert’s novel The Temptation of St. Anthony. In this series Redon draws upon the imagery of the wonderous in relation to religion and morality. As Joris-Karl Huysmans says in his review of the collection; “Here is the nightmare transposed into art.”
I was taken with the notion of injecting horror into art, but as something that is not scaring. Something that is softer.
The Slab is an interactive work that invites the audience member to lie back upon it. It is angled and placed so that the viewer has an undisturbed view of the sky. The Slab takes inspiration from ideas of control that appear in both film and religion – it seeks to somewhat control the viewers gaze.