• Imitation

    Video of performance
    10 minutes  |  2016

  • Knot In Space

    Foam, paint, wood, steel
    1ft x 1ft x 8in  |  2016

  • Acting Up

    Burlap, felt, steel, rope, foam
    8ft x 5ft x 1ft  |  2016

  • Lounge

    Foam, felt, wood, paint, fabric
    3ft x 2ft x 3ft  |  2016

  • Tease

    Foam, wood
    2ft x 2ft x 6in  |  2016

  • Humps

    Wood, paint, foam, vinyl
    3ft x 5ft x 1ft  |  2016

  • Untitled (Ballet)

    Video of performance
    30 minutes  |  2015

  • Shapes That Stand Up

    Acrylic on dyed canvas with grommets
    8ft x 12ft x 1ft  |  2015

  • Varigated Lattice

    Cord, cement, paint, magazine clippings
    Variable  |  2015

CORINNA RAY Website

Knoxville, TN | Sculpture, Mixed Media, Performance, Installation
Bio:

Corinna Ray (b. 1988) is an artist living and working in Knoxville, TN. She is originally from coastal Alabama and received her BFA in Art with a concentration in Printmaking and Photography from Birmingham-Southern College. She is currently an MFA candidate in Sculpture at the University of Tennessee.

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Statement:

Pretending and putting on airs is not different than objects feigning function when they don’t. The Duchampian bachelor machine is non-functioning in its intended purpose. It refuses or is unable to produce; yet it chugs away at another task tirelessly forever or finally breaks down. I notice this kind of performance behavior in looking at material illusions: the suggestion of space in relief, trompe l’oeil effects, gold leaf, faux finishes as well as other surface treatments and facades. I am interested in the relationship between these physical elements and human behaviors as they describe failures of illusion.

An aversion to disguise combined with my loyalty to the “it is what it is” sentiment has lead my constructions to be casual and my tricks to stay exposed. There’s something very truthful about simple balance, feats of gravity and two objects or people touching one another.

By establishing prompts or setting up a space, I create other versions of utopia in their simultaneous somewhere-ness and nowhere-ness; a utopian “good place” that is “no place”. In viewing these pieces through the lens of dance and play, I see the elements as individuals posing or making a scene. The conditions facilitate a temporary moment where these subjects can be themselves rather than pretending. This work asks questions about the integrity of materials and the truth behind surfaces.

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