December 21, 2011 · Print This Article
Caroline Picard: This series started for me because I kept hearing the word hybridity — in multiple conversations about different art works or practices, hybridity started to sound like a buzzword. While on the one hand, I know what the word means of course, it also feels like a term that carries a certain amount of baggage. I was hoping to try and identify what that baggage was and, even, pin down (if possible) what hybridity means. Perhaps part of its intent is to remain fluid and unpinnable — as a kind of strategy resistant to traditional power structures — at least that seems to be an element that motivates your own work. Can you talk a little bit about more why hybridity is important to you? [As an aside, I'd add that this interview took place several months ago, at the inception of the Occupy Movement)
Gwenn-Aël Lynn: Hybrid is a word originating from the biological sciences. It indicates the cross breeding of different species or plants, often through human manipulation. However I am using it in the manner that Homi Bhabha defined in the 1990s. So, in my case, it is really a cultural term. I'm actually pushing this definition a little further, because what I'm really after is creolization, a term used, in particular, by Edouard Glissant, a Creole speaking Martinican poet, who, sadly, passed away recently. Where Hybridity is the offspring of two entities (in other words it hinges on a binary system), creolization allows for multplicity, a mixture where the different parts remain autonomous, a place of endless permutation. It speaks of a process, of something in constant flux, instead of just two parts synthesized into one. I'm actually looking for an appropriate translation of the French word métissage, and I think it is really interesting that there is no literal equivalent in English. There are many expressions like “mixed-race,” “bi-racial,” etc. but they all result from colonial racial ideologies, and I simply don't believe that these terms are relevant to today's society. Not that we should stop acknowledging “race” in America, but rather if our language is still predicated on colonial racial terms, we'll never move forward. The mere concept of race is very confining. Meanwhile. the global world is mutating. Therefore I settled on creolisation as the closest meaning to métissage, an intercultural process (and cross breeding by the same token), that granted is a by-product of colonialism, but also gave birth to new languages: Creole(s); new religions: Vodoo, Candomble, Santeria; new ways of cooking: Caribean, Reunionese, Mauritian, Brazilian, Mexican, etc. And indeed these cultural phenomena, over a long history, often occurred under complex power structures (whether under the European Colonial expansion, or the various invasions that have shaped modern day India, or even the succession of empires around the Mediterranean basin.)
CP: How does this subject resonate with you?
GAL: I guess I should also specify that I am a hybrid, but not in a racial term, because I have a french mother and an American father (from California) and I grew up between two households, over two continents, speaking two languages. So, I've always had, at least, a dual understanding of the world. In fact, one of the key moments I became aware that I was not simply “French” or “American” occurred while visiting my former in-laws on Reunion Island (A French “Over-Seas department”(1) in the Indian Ocean) where a local journalist asked me if I considered myself a métis [mixed race] because of my dual origins. I hesitated for a little while before answering “yes.” This answer would not be acceptable in a racially structured society like the United States (because I’m actually not the result of miscegenation, however I am culturally mixed), but on this island, where race relations are differently problematic, it was a possible answer, precisely because the Reunionese revel in creolisation. So when confronted with the North American way of dealing with race, creolization gives me a place that I can navigate, and more importantly where I can meet and share with other people, who are not like me, but who also possess this sense of belonging to a multiplicity rather than a single group or community. This creolized place is not only racially or visually motivated; it is linguistic (for people who command more than just English) transgender, and last but not least, political.
CP: It sounds like your understanding of creolization opens up at that point to include other kinds of mixes — like you say, mixes of sexual orientation, or gender etc.
GAL: Yes, I am naturally attracted towards other hybrids, and discourses, and practices, that embody such identity(ies). And, one of the things that have always disturbed me about the United States is that race theory, discourse, and emancipation has become very inward looking; we have all these very different hyphenated Americans (African-Americans, Asian-Americans, Italian-Americans, Irish-Americans, Mexican-Americans, and the list is quasi infinite) but this hyphen does not provide any room for those who belong to more than just one ethnic community. And there are many historical reasons to account for these racial divides (like, for instance, the “One-drop rule”)(2), it is a bit like, indeed we are a melting pot, but the content of the pot never melted. However, we tend to forget that the civil rights movement, for example, even though it started in the segregated South by those very people whose liberties had been restricted for so long. The civil rights movement had only been possible, and became successful by uniting across racial divides as “people.” If you look at pictures from those days you see people from all walks of life — there is a majority of Black folks of course, but you also see Jews, Whites, and in parallel you have Cesar Chavez uniting farm workers in California, and the formation of the American Indian Movement. As a matter of fact my father recalls participating in a protest against a segregated Woolworths in Santa Monica, CA, in the late fifties. Angry racist Whites were throwing stones at the protesters. Yet it’s through efforts and sacrifices of this kind that change was enacted. And so, today, I feel that “We Americans,” unlike other cultures that have also felt the yoke of colonialism, like India, Brazil, or Mexico, we do not embrace our creolized nature. And we certainly don’t give space to those who refuse to identify as belonging to a single racial, or cultural, and gender category.
CP: Do you feel like we should try to shed identity altogether?
GAL: Of course not. It is not about: “let’s all mingle and become so homogenous that there is no difference left.” Rather, it is about the possibility of having multiplicity within each of us, and to relate to each other while embracing our differences. I think, but I’m not sure, that this is one possible interpretation of what Antonio Negri calls the “multitude.” So it becomes a multitude of multiplicities, the ferment for new democracy. On a simpler level there is a gastronomic metaphor that, I find, illustrates multiplicity very well:
Our preference, for miscegenation as thought, will go to the soup, for it is respectful of its components leaving them intact in a sober and tolerant broth.3
[From the Dictionnaire du Métissage
by Francois Laplantine and Alexis Nouss,
Paris, Pauvert Editions 2001]
CP: Where does that leave us now? And why do you think people are so interested in hybridity?
GAL: You know, there are moments when, I feel we are where we are, in the middle of the Great Recession, with a Black president, who is actually a “hybrid,” but who campaigned as a “black” candidate (instead of a mixed-race candidate, because of the “One-drop rule” I was speaking of earlier) and decided to show his birth certificate to answer pressure from the Republicans, because it is in the interest of Capitalism to have us divided like this. Divide and Conquer is an old colonial strategy to gain the upper hand. So if the American people is divided along ethnic classes that makes more cheap labour for Capitalism, because we are not going to get together to fight back. It’s easier to blame the Mexican immigrant worker because he is supposedly taking our jobs, or vice-versa to blame the Black worker, or the Unemployed because, as a citizen, he has access to what’s left of the welfare system, medicaid, etc. It’s easier to blame each other for the situation we are in than to reach out, and try to organize each other across divides, to actually take control and decide for our own fate. It’s a lot easier to let a bunch of flunkies on Capitol Hill haggle over the debt ceiling for weeks on end, while it’s getting harder for all of us to put food on our plates. And this goes for artists too, we are workers, we are manual and intellectual workers, but we are divided along medium, schools, hell we are divided along race too! And many of us accept to work very hard practically for free. Some of us even put themselves in debt in the hope of finishing a project because we are at a point where there no longer is any viable support for making art. But who reaps the fruit of this hard labour? The art market. Has it ever invested into an ambitious artistic project? Does Sotheby’s give back to the community when it scores a big sale? Nope! It lets the local art council support as best as can the making of art, and comes afterward to harvest the product without even leaving a dime behind. And yet we all put up with this system, or rather we just witness its passing. There are some in the community who are trying to raise some awareness about this labor division within the art world.
CP: Do you have an example?
GAL: I am thinking of Temporary Services, for example, who released a newspaper last year. There is American for the Arts but they are really more of an Art in Education advocacy group in DC. How about a group who advocates for better “art making conditions,” for the possibility of being a full time artist, rather than an artist with three or four different odd jobs and no time for art making for example? Recently, as part of the Occupy Wall Street movement, there has also been Occupy Museum and Occupy Art.In France, some artists are trying to self organize under various headings to fight for more support and better policies, but it is one high steep hill. So, anyways, these are some of the reasons why I make work that addresses questions related to hybridity.
CP: How has this stuff influenced your own practice?
GAL: In terms of art projects, well there is this interactive Audiolfactory (4) installation I started working on in 2009, and for which I was awarded a CAAP grant dy the DCA of Chicago, but it’s unfortunately still in progress (I say unfortunate because I had originally planned on wrapping it in one year!).
CP: Doesn’t your work incorporate smell?
GAL: I started by engaging in conversation with other hybrids about their understanding of creolization and I asked them to relate their experience to smells, in order to garner scents that could be described as “Hybrid” (again not in a chemical or biological sense, but rather as associated to a hybrid experience). In order to meet my interviewees I relied on ads placed on the CAR website, on Facebook, on fliers placed in key coffee houses, and on cultural centers such as the American Indian Center on Wilson avenue, the Center on Halsted, the Korean American Center, The Tibetan Cultural Center in Evanston, the Asian American Museum in Chinatown, the Japanese American Historical Society, as well as word to mouth communication. Methodologically I did not rely only on conversation (in other words on language) to determine what these smells could be, I also conducted a performative scent workshop to see if the “performative body” would suggest other scents, in which Sebastian Alvarez participated. This workshop actually led to other scents, but the unforeseen issue is that it has now grown into a performance workshop that I have been asked to conduct in several places (including Lithuania) with no particular connection to hybridity. Anyways, after all these smells were suggested, I then collaborated with two perfumers : Michel Roudnitska (based in the South of France), and Christophe Laudamiel (based in New York) to reproduce these scents. I am not disclosing what they are yet, because I want the experience to be fresh and unmediated when this installation opens to the public (no set dates yet), but some of them are really surprising and interesting.
CP: Does the piece focus solely on smell?
GAL: Sounds will be associated to each scent station, and for this section of the project I am collaborating with an experimental DJ: Christophe Gilmore aka FluiD, who is originally from Los Angeles, but is now based in Chicago, and is actually Creole. Some of the comments and observations that were made by the various hybrids I engaged with will also find their ways into these sound samples, but I have to work that out with them, making sure they agree with the edits, get their permission etc. But these abstracts will greatly complexify the definition of creolization I gave earlier.
CP: It sounds like your understanding of this terminology, and your investigation of that terminology, changes depending on who you work with.
GAL: One of the great things about working with people (rather than alone or “in the name of”) is that it really gives you a plurality of meanings, and forces definitions to be very fluid and transient, but it is also hard because you have to make sure nobody is left behind or frustrated by the process. All of the participants to the project get credited in the end, but that’s a few months away. Each sound/smell station will be in the form of rice paper maché sculptures (mostly because I need material that at the same time contains but let smells and sounds ooze through) in the shape of noses and ears, so as you can see the hybrid nature of this installation really resides in its scents and sounds and not so much in its visual aspect. And that’s a deliberate choice, because it is the eyesight that makes us see race (skin surface level). Whereas it is not so present (but not completely absent either) in our aural and olfactory phenomenology. As Stuart Hall once said: “race enters the visual field.” There is actually a number of texts on visual hegemony and how this differs when it comes down to olfaction, but that discussion would take many more pages. But in a few words I can say that I’m addressing the question of creolization through smells to open up a new territory, not to be charted visually, but to practice rhizomatic studies to sense how identities, formed out of multiplicity, can get together and generate new sensibilities, new relations and hopefully new knowledge in how we can form inter-related and diverse groups of human beings.
(see note 5 for video details)
CP: Has your relationship with your various participants changed over the course of this project?
GAL: While working on the above mentioned project, my former roommate moved out, so I placed an ad on Craigslist to find a new one, and one of the respondents happened to be someone I had initially interviewed for the project. So he moved in, and we are getting along well. As the project has been taking so long to complete I have been hosting “hybrid dinners” at my house once a year to keep in touch with my fellow hybrids but also to let them know I am still working on the installation, and to continue our conversations. For one of these dinners, Hermes (that’s my roommate) decided to make a Black-Xican Pozole (as you may have guessed he is Black and Mexican, and a fantabulous professional chef). It’s a pozole made the Mexican way, but it also incorporates elements of soul food like collard greens, and ham hock. Shortly thereafter I was invited, by Alberto Aguilar and Jorge Lucero, to contribute to a show they were curating: Hecho en Casa, a program of events that verged on acts of domesticity. So Hermes and I decided to turn the dinner into a public performance.
Finally as a last example, I could mention a previous interactive odour and sound installation (2006) which, when I made it I did not think of in terms of hybridity, but looking back I think it would qualify, even though, at that time, I did not have the theoretical baggage, let alone the drive, to conceive of it as a hybrid project. It’s an installation that I made while being an artist in residence in the Netherlands, in Enschede, close to the German border, via the European Pepinieres for Young Artists network, Transartists and the media department of the AKI. I wanted to address the fact that in current European discourse, and in particular in the Netherlands, despite years of immigrant labor and influx from the former colonies, identity is still defined from the center, the White Dutch majority. For instance, the Dutch government passed a law, a few years ago, that forces new immigrants to be fluent in Dutch. Yet there are plenty of Dutch citizens who are from the former colonies, and speak other languages. From my perspective this definition is very problematic, so in order to come up with a postcolonial definition of the contemporary Netherlands I met and engaged with Dutch nationals who had some kind of affiliation with the former colonies. As expected I met many different kinds of people, some with very traumatic histories, because independence was not a peaceful process, others because when they came to the mainland they had to deal with blatant racism. Some of these questions and stories were integrated, along with music composed by Antony Maubert, into the sound part of this installation, and others (I had a lot of data) were indexed on an audio CD that was released with the opening of the show in Enschede. And as an answer to the push for monolinguism by the authorities, the soundtracks of this project total 8 languages (Afrikaan, Bahassa, Balinese, Dutch, English, Papiamento, Taki-Taki, and Zulu). Indeed, Dutch is not the only language spoken today in the Netherlands. So it is by no means exhaustive, but instead reflect the people I met, while in residence. This project was my initial collaboration with Michel Roudnistka for the smells. Looking back at that project, I tried to manifest ideas of creolization by using a non-dialectical structure. A sensory experience organized by associations in order to foster connections and expand ideas of communities, language, identities, etc.
But regarding hybridity specifically in regard to this installation from 2006, I think my most interesting find was that when Indonesia was occupied by the Dutch there were Indos who used the following expressions to describe their ancestry: the Motherland was Indonesia, and Fatherland described the Netherlands, because often, Indos were the children of a Dutch male civil servant who had married an Indonesian woman. This example was narrated by Johan Ghysels (an Indo photographer from Enschede) on the soundtrack associated to the odor of Kretek (clove cigarettes). In his words “we were the in-between layer” of Dutch colonial society, between the white elite and the Indonesian natives, rejected by the latter because more privileged, and despised by the former for not being “completely” Dutch. As a matter of fact, many of the people I talked to, in the course of this project, described themselves as “in-between”. When independence struck, many of the Indos had to leave for fear of being exterminated by Indonesian Nationalists who identified them with the oppressors. So they sought refuge in the Netherlands where they had some relatives but once there, as Gill Bollegraf, another Indo photographer from Enschede, told me, they were confronted by really strange behavior. An incident happened to her mother (Gil was born in the Netherlands): one day at the market, after her arrival in the Netherlands in the sixties, a little White Dutch kid lifted her skirt to see if she had a tail, because he thought she was a monkey. So a few Indos went to California to start a new life but the majority of them, nevertheless, stayed in the Netherlands. Today they have organized themselves into different associations (http://www.nasi-idjo.nl/), they have their own music, food, etc. It is a striving culture, but always remains at their core, this sense of having been forcibly displaced.
(1) Read: former colony, whose inhabitants decided to remain within the French République when the colonial empire broke down in the 60′s and 70′s. It boasts one of the most creolized population in the world.
(2) Meaning any person with “one drop of black blood” was considered as black under the Racial Integrity Act, despite the fact that many were mixed-race people.
(3) This quote is my rough translation of the following text, and operates a distinction between two kinds of soups: the potage -which is a soup where all the ingredients have been grinded and blended and a soupe where all the ingredients are left as they are, floating in their broth: “Notre préférence, nonobstant nos penchants gastronomiques et leurs goûts respectifs, ira, pour une pensée du métissage, à la soupe. Car elle est respectueuse de ses composantes qu’elle laisse intactes dans un bouillon sobre et tolérant. Le potage, lui, broie, mélange, passe, bref il fusionne, visant à l’homogène.”
(4)Sound and smell
(5) Roots… (a speaking garden) 2010. Installation made while in residence at the Pépinières Européennes pour Jeunes Artistes in St. Cloud, France. A sound enhanced winter garden. Foreigners, and nationals with experience abroad, recommended the plants constituting this installation. While in residence, I met with them and conducted interviews discussing the metaphor of roots, as pertaining to one’s origins. During the exhibition, abstracts from these interviews were triggered by the visitors, whose displacements were monitored by discrete c-mos cameras and a computer where these displacements were analyzed by two open source software: Processing and Pure Data. Pure Data patch built by Ben Carney.
(6) This dinner took place at Cobalt Studios, located in Pilsen, and was sonified with a “Pilsen” soundscape. It was part of a series of event: Hecho en Case/Home made curated by Alberto Aguilar and Jorge Lucero. A program of events that verged on acts of domesticity.
(7) interactive odour and sound installation (2006). Detail of kretek diffuser (clove and tobacco). Scents, sounds, electronics, infra-red motion detector, MIDI box (an open source interface), software, computer. This project was realized while in residence in Enschede, the Netherlands, via the European exchange program for young artists: “European pépinières [nursery] for young artists”. Collaborators: Paul Jansen Klomp (new media artist), Antony Maubert (composer), and Michel Roudnitska. (perfumer).
This installation has been shown in Enschede at Villa deBank in April 2006, in Eindhoven at De Overslag in March 2007, and at Casino Luxembourg, Forum for Contemporary Art, Luxembourg in September 2007.
Well the Museum of Science and Industry has announced their winner of the
Night ”Month at the Museum” contest and it is Kate McGroarty. Kate is a Theater Artist/Customer Service Representative & recent graduate of Northwestern University. Kate starts her tour of duty in the museum on October 20th and leaves on November 18th. Kate seems to be meta aware of the entire point of this exercise and that is reflected in her lonelygirl15′esque video submission below.
You can follow Kate’s adventure via twitter and facebook (by the way MSI nice forcing the “I like” function as your public facebook link, that move should have it’s own chemical formula…….. let me think). There seems to be a very ironic website page on Miss McGroatry as well which I really hope is someone trying to capitalize on her 15 mins and not actually run by Kate herself since its a tad self congratulatory and disingenuous.
Also here is the video of the winner announcement which I have to admit whoever came up with the checmical reaction to signify the winner should get a bonus (or season 2 of “The Big Bang Theory” on DVD) since that has been the best move I have seen as of yet with this project. Also whoever missed or decided not to post the video of that announcement on the MSI website and is not capitalizing on the great PR value of that moment should get the reverse (and the season 1 DVD of Cavemen) no one should have to search for that video to find it.
I hope this is a success and will agree that having looked at the applicants that they picked the right person for the position (a arts student who admittedly knows little about science but knows PR, is cute and bubbly and gets it with a wink and a nod) Sorry Alex Dainis in a perfect and fair world you would have been the right choice since you have the looks, smarts, personality, background & non creepy factor but in the end this isn’t about Science it’s about marketing. It is going to be interesting to see how Kate takes the initiative on this and what she can do with it since the agenda seems pretty open for input. Good luck and no using the taxidermied animals as teddy bears
A few weeks ago here on the blog, I wrote a post about portraiture in the age of Facebook. At the conclusion of the piece, I said this:
“To whatever extent our online selves reflect our offline selves, Haugsjaa and Moore’s portraits make it harrowingly clear that our online profiles and virtual personas have, in a very real sense, escaped us. They/We are up for grabs, ready to be data-mined, added, followed, memed, and retweeted. The opportunity to have one’s portrait painted was once available only to a select few: typically, the very rich or the very poor. Social recognition used to be a privilege. So why does it now seem more like a punishment?”
After writing that paragraph, I kind of laughed at myself for being so hyperbolic with my prose, but for some reason I still didn’t want to change it. Over the weekend, I read an article in the business section of the Chicago Tribune that was pretty horrifying, and I felt that it kind of confirmed my suspicions that nowadays, having one’s photo taken might be more of a punishment than it is a privilege.
I can’t help but think that vile websites like People of Public Transit exist partly as an offshoot of virtual hangouts like Facebook, My Space, and Flickr. I find it more than a little disturbing to think that not only are our images and personas are up for grabs in a social media sense; a lot of people now apparently think (probably because of this) that it’s totally okay, and not at all morally problematic, to snap a stranger’s picture on the subway train and post it Facebook style for their own and others’ amusement.
Read the Trib’s article about what happened to CTA commuter Jennifer Fastwolf and tell me you don’t agree with me just a teeny bit. (It’s okay if you don’t though).
I received a bit of feedback on last Monday’s post on Facebook portraiture that I thought I’d share here today. First was a stray observation made during an email exchange that Facebook has provided a great source for stock drunk girl imagery, if your work happens to be requiring that sort of thing at the moment. All I can say to that is, SO TRUE. And second, Enda O’Donoghue, an Irish artist who lives and works in Berlin, wrote me to tell me about the work that he’s been doing, which also draws from Facebook. O’Donoghue told me,
“I am an artist myself who has been using photos found on Facebook, Twitter pics, Flickr and various blogs as the starting point for my paintings. I make contact with each of the photographers behind the photos that I select to work with to ask for permission to use their photos. I have been compulsively collecting and cataloguing photographs found online for about 10 years I think. The photos that I have been working with most recently are most often the throw-away shots which otherwise gather digital dust buried away on hard-drives, camera chips, mobile phones or uploaded and then lost or forgotten someplace on the Web.
“My process of painting is slow and methodical, firstly dissecting the image into sections on paper and then working over periods of weeks or months to reconstruct the image section by section as a painting, almost like a jigsaw puzzle that often doesn’t line up properly. For me it is interesting to take these very throw-away images and make the maybe pointless effort to trace the owner, contact them and seek permission then to spend the time and effort to paint these images often on quite on a large scale. Once completed I send images of the final painting back to the original photographers often to interesting results, such as here.”
What differentiates O’Donoghue’s paintings from the work I discussed on Monday, of course, is the fact that they don’t include the subject’s face.
Here’s a link to an essay on O’Donoghue’s work written by Suzanne Trouve Feff. I thought it was fitting that Feff began her piece with the line: “Be careful the next time you post your pictures on Facebook, you could become a work of art.”
“But saying no to the internet is not a simple exercise of willpower. The encroachment of the internet into our everyday lives often seems irresistible not merely because we like it “too much” but because we palpably risk social exclusion if we can’t keep up, if we lack online presence. It can make us seem vaguely suspicious, as though we have something to hide. Thus the vaunted network effects that the Web harnesses begin to come at the expense of our autonomy: We have to maintain a Facebook page. We have to shop through Amazon.com. We have to Google ourselves to check up on our reputation. We must get a smart phone. We must yearn for unlimited data plans.” — Rob Horning, “Children are our future: Resistance, Addiction and the Digital Natives.” The New Inquiry.
Rob Horning’s essay for The New Inquiry is one of the best (and scariest, of an already scary genre) I’ve read lately on social media identity. Although I’m not part of the generation of “digital natives” that Horning is writing about, I recognize that acute sense of pressure that Horning describes, one that says if we’re not participating in social media, we’re invisible, and thus irrelevant. I think for writers that may be doubly true, since so much of social media involves the written word, albeit brief snippets and truncated chunks of it.
Social media is above all a performative act, and it can be fun to think of oneself (or those aspects of ourselves we want to project publicly) in terms of characters that we construct and subsequently play-act. That character is you, but of course it’s not exactly you. It’s the You that you want to project to others. For example, the written voice, the “I” that I project on this blog, or as a (god help me) Twitter user, or on my Tumblr (which I am kind of obsessed with and into which I have been pouring way too much energy lately) is a version of me that I project for you. It’s a version of me that I feel fairly comfortable with, but of course it isn’t really me. It’s a tougher and bitchier and snarkier and generally more self-confident version of me.
Sometimes I think my husband has a crush on Internet Me. Poor guy. He has to come home to harried, neurotic, still in her pajamas and bitchy-in-a-not-funny-or-even particularly smart-way Me.
Such are the sweet lies that social media tells.
When we do try to swim in the stream of social media–when we carefully choose our portrait pictures and avatars and monikers and privacy settings, when we decide who we want to follow and who we will allow to follow us–we’re constructing a falsely unified picture of ourselves. In this, social media simply re-iterates the fragmented identities and fictions of a cohesive Self that all those post-structuralists were rambling on about decades ago. As Horning observes: “We think we are presenting a coherent picture of who we are online, only to recognize suddenly that we are not so sure of that identity ourselves.”
I’ve been thinking about how online portraiture is particularly reflective of this phenomenon. As I was reading Horning’s words, for example, an image suddenly popped into my mind: that of a close friend, her face blurred almost beyond recognition, her upper body momentarily frozen in a pose that suggested she was either dancing, looking at herself in a mirror, or in the midst of a brief, catlike stretch. The image started out as a photograph, but it became a portrait, made by an artist named Ryan Haugsjaa.
My friend was startled to learn that a stranger had, unbeknownst to her, chosen her photo randomly out of the hundreds of thousands of Facebook users out there and painted a portrait based on it. She told me she thought it was cool, but also sort of creepy. When she went ahead and posted the portrait on her own Facebook page, I was fascinated by it, largely because I thought Haugsjaa had somehow chosen just the right photograph to represent her — an image that, to me anyway, contained the essence or punctum, as Barthes put it, of my beautiful, free-spirited friend. But of course, Haugsjaa had no way of knowing that. Do strangers see what I see when looking at Haugsjaa’s portrait of her? Probably not. On Haugsjaa’s Facebook page, my friend is just one in a series of named yet ultimately anonymous subjects, an illustration of a concept that Haugsjaa has been exploring for about a year now: “the proliferation of images on the internet, internet privacy and how it will affect our lives in the future,” as Haugsjaa explains in his artist’s statement.
Haugsjaa isn’t the only artist to have drawn from Facebook’s enormous pool of images as subject matter for art. Paul Campbell and Matt Held of “I’ll have my Facebook portrait painted by Matt Held” fame have also made portrait paintings based on Facebook profile pictures.
But whereas both Held’s and Campbell’s Facebook paintings tend to radiate an air of sunny whimsicality, Haugsjaa’s are more off-putting; they are purposefully strange and estranging, too. I find Haugsjaa’s portraits to be especially compelling when viewed in thumbnail size and stacked in one long grid, as they are on the artist’s album page.
The fact that Haugsjaa’s use of these images is unauthorized (and in a few rare cases, unwanted) adds a sense of illicit voyeurism to the process of looking at them. Arguably, there’s something slightly aggressive both in the way the artist searches for and selects his subjects, as well as in the way he alters their carefully constructed photographic personas into images that shimmer somewhere between the monstrous and the familiar.
This is amplified by the fact that Haugsjaa’s paintings aren’t paintings in the traditional sense of the term–they’re more a kind of mash-up of digital photography and painting. As Haugsjaa explained to me in an email, he’s actually “painting into” the existing photographic images, rather than representing that image via painted renderings of his subjects. He prints the Facebook image using a standard inkjet printer and photo paper and, while the printout ink is still wet, he “modifies” it using acrylic and oil paint, which mixes with the ink in a single layer. The resulting images appear to be dripping off the carefully designated, postage-stamp confines of the square, as if the subject’s carefully constructed identity were literally melting–or slipping away from–our gaze.
Artist Dominic Paul Moore, who lives in Chicago and co-directs ebersmoore, has also made a series of graphite drawings based on social media portraits. His “my(death)space” series is based on the My Spaces pages of young people who have died, which Moore found through the website MyDeathSpace.com (and which is a kind of a conceptual art project in and of itself. Spend some time clicking around in there and tell me it doesn’t start to freak your shit out after awhile).
Moore’s carefully rendered graphite drawings are like tombstone rubbings of virtual grave sites — both the web page and Moore’s drawing of it are a type of repository for an identity that will henceforth cease to be updated. Doesn’t it seem like a million years ago when only movie stars got to have their “selves” live on forever through celluloid? Nowadays, we all can, through the magic of our preferred social media network. In fact, we can’t get rid of our pesky Internet doppelgängers even if we want to. Even after we’re dead.
To whatever extent our online selves reflect our offline selves, Haugsjaa and Moore’s portraits make it harrowingly clear that our online profiles and virtual personas have, in a very real sense, escaped us. They/We are up for grabs, ready to be data-mined, added, followed, memed, and retweeted. The opportunity to have one’s portrait painted was once available only to a select few: typically, the very rich or the very poor. Social recognition used to be a privilege. So why does it now seem more like a punishment?