Posted: April 12th, 2018 | Author: | Filed under: Exhibitions | No Comments »

Social Study, 2018

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The videos in Social Study set disparate images and audio against one another to forge unlikely formal and thematic connections. Culled from footage shot on a phone and found online, the works are the result of an intuitive process of collecting and editing. The montages encompass a range of themes such as the natural and the artificial as well as pleasure and danger.

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Heat Loss, 2017

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“Rodda’s Heat Loss studies studies this process as it pertains to the Internet, the images it contains, and the human bodies that both look at online images and are looked at through them. Always it seems a question of how fast or slow the loss of heat happens, how to maintain balance (homeostasis). It is a dynamic, and so it works a little differently than Bürger’s found object, even though it builds off those concepts. Maybe the Internet is like a body, with impulses and desires and the potential to diffuse them elsewhere.”
-Ariel Evans, PHD, UT Austin Department of Art & Art History

Essay by Ariel Evans

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Turn Your Face Toward The Sun, 2016

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Speakers, stage, found audio of individuals rubbing their bodies with microphones

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Surface Tension, video still

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Advantage, basketball, palm tree trunk

Turn Your Face Toward the Sun couples works by Charlie Morris and Liz Rodda and explores contemporary assemblage, subculture iconographies and vernaculars, and themes of control, desire, anxiety, power, surveillance, and subversion. Combining crafted works with found content, each artist’s interdisciplinary practice involves the act of collecting and sifting through images, videos, found objects, and more to recontextualize and focus the viewer on the unseen. Whether the content is culled via youtube or encountered on a daily walk, the viewer is given parts which illuminate underlying tensions concealed by a calm surface.”

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Elastic, 2016

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Found/manipulated video & audio

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Slow Dazzle, 2016

Video shot in upstate NY, found/manipulated audio

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Impressions, 2015

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Concussion Repercussion (middle image) consists of a mud mask, constructed to resemble those made by Asaro Mudmen, beside a lounge chair that stylistically recalls an era when many Americans learned about travel and exotic worlds through National Geographic and Playboy. In other projects, the carcinogenic but alluring nature of household materials like hair dye slip in. Painted onto posters of exotic, barren landscapes, hair dye stains the paper in a pattern that mimics a chain-link fence or a trellis. Hair appears again in the video Bob & Weave (top image), which features endlessly scrolling waves of blonde locks and Taylor Swift’s Shake It Off reduced to half speed.

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Clockwise, 2013

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Plateau, cough syrup on paper (framed images)

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The Vow, yoga mat, Elizabeth Taylor’s perfume, Forever, embedded in plaster rock

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PLANB, 2013

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PLANB (white floor sculpture), steel, bath salts, gorilla glue, Kilz

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Death Drive, 2013

Excerpt, found video & audio

In his essay, “Beyond the Pleasure Principle,” Freud describes the death drive as a force that makes us behave in ways that counter Darwinian self-preservation. The video, Death Drive, consists of two YouTube videos shown side-by-side. On the left is a car driving smoothly through the Grand Canyon. On the right, a driverless car is stuck in reverse and circles continuously. The videos are accompanied by audio sampled from a warped LP.

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Tomorrows, 2011

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Triple Possibility, three-channel video installation

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Someday We’ll Be Together, orchid, speakers

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Curtain, video installation

“In her multi-part exhibition, Tomorrows, Liz Rodda accentuates that control is an illusion, and that chance, freewill, and causality altogether factor into life’s narrative. In Rodda’s Triple Possibility, three filmed segments display different fortunetellers that she consulted in Beijing; each one is seen interpreting her dreams from the night before in order to shed light on her destined career path, health, and love life. What results are three divergent, yet sometimes overlapping portraits of Rodda that are, to skeptics, driven by speculation.”
– Alison Hearst, Associate Curator at Modern Art Museum of Fort Worth