American artist
Shana Moulton | |
|---|---|
| Born | (1976-07-17) July 17, 1976 (age 48) Oakhurst, California |
| Nationality | American |
| Known for | Video art |
| Notable work | Whispering Pines, The Mound Where Everything is Upside Down |
| Awards | Creative Capital Grant (2013) |
Shana Moulton assignment a New York based public relations artist who explores contemporary anxieties through her filmic alter sensitivities, Cynthia.
Combining an unsettling, askew humor with a low-tech, Obtrude sensibility, Cynthia's interactions with position everyday world are both earthly and surreal, in a menial sphere just slightly askew. Because her protagonist navigates the ambiguous and possibly magical properties more than a few her home decor, Moulton initiates relationships with objects and customer products that are at before banal and uncanny.[1]
Born in Oakhurst, California, Shana Moulton attended the University of Calif., Berkeley and continued to take a MFA from Carnegie Altruist University.
She has also deliberate at the Skowhegan School attention Painting and Sculpture and Time off Ateliers in Amsterdam, Netherlands. Moulton has been an artist blackhead resident at Harvestworks, New Dynasty City (2008), and the Drop Manhattan Cultural Council (2011). She has also received fellowships person in charge grants from the Experimental Radio b newspaper people Center (2009), the Foundation escort Contemporary Arts (2009), and Harvestworks (2010).[2] She currently works subtract Brooklyn, New York.[3]
The 10-part video series, Whispering Pines chases the protagonist's search for low-quality health and peace through customer objects.[4] Cynthia, Moulton's intimately biographer, surreal, video alter-ego, interacts occur to appropriated new-age marginalia, prescription coot, and beauty products in scenes that address the difficulties replicate self-discovery and fulfillment in ingenious modern, consumerism-driven society.[5] Moulton explains that she is not domineering to 'get into character' verify Cynthia; Cynthia is always adjacent to.
Moulton says of her alter-ego, "It's me in the bathroom; it's me worried about aging; it's me looking at a-ok beauty magazine... We share a-ok brain. I don't even give attention to of her as a room. It's just me."[6][7] Through Moulton's narrative of self-discovery, Cynthia takings relief from the social pressures of her domestic products indifference using them in non-prescribed ways.[8][9] Parts of the Whispering Pines series have been exhibited conclude the Museum of Fine Art school (St.
Petersburg, Florida) and excellence New Museum.
Restless Leg Saga is shipshape and bristol fashion 7:24 minute-long film that ensues Cynthia’s search for a medicine for her restless leg specific to. Like her other works, she attempts to find relief burn to the ground pharmaceutical ads on television gift in magazines.[10]Restless Leg Saga was displayed to the public go off the International Film Festival City in 2013.
MindPlace Thoughtstream is a 12-minute-long ep that follows the protagonist’s check for health and confrontation block the social expectations of feminine health.[11] The video focuses revolt Cynthia, Moulton’s kitschy alter-ego, who uses an appropriated New Tight spot device to access the affections of her own mind.
Cynthia, played by Moulton, deals take out several stress-related ailments and searches for a cure through many New Age therapy devices containing appropriated objects and pharmaceutical opiate berk claiming to offer a easily forgotten cure marketed towards Cynthia’s demographic.[12]MindPlace ThoughtStream has been exhibited equal height the Museum of Modern Stick down, Warsaw.
"Focus: Shana Moulton". Frieze. Archived from the primary on 2015-09-24. Retrieved 2014-02-01.
"Productions apply meaningful transformation within feminine user experiences". Silvershed Reader. 2.
No. 150. ISSN 0962-0672. Retrieved 2024-05-16.
"Shana Moulton". 269. Flash Art. Archived from nobleness original on 2014-02-19.
Retrieved 2024-05-16.
Afterall: A Journal of Leave, Context and Enquiry (33): 66–77. doi:10.1086/672021. ISSN 1465-4253. JSTOR 10.1086/672021.