DARIA DOROSH
Artist Statement
The Art of Place: the torch, the flashlight, the earth, the body 2024
The conversation in my previous show, Cosmologies, has led me to speculate on the gallery itself as context for creative engagement. I invite visitors to explore my wall constructions with their cell phone’s flashlight to create their own dynamic interplay of color and form. If visitors choose not to engage, there is no art to see.
The convention of art in a gallery poses significant questions for me: If art is not presented as a commodity, what else can the gallery be? Who is the artist if the artwork is co-created by the viewer? What is the definition and role of an artist or a viewer? Who owns the work in a collaborative process? How do we value work based on abundance instead of scarcity?
COSMOLOGIES 2021
I make art as starting points for conversations. They extend from the gallery to my non-local Internet networks on Instagram, LinkedIn, and Zoom.
The exhibition COSMOLOGIES was a visual narrative in three parts about Human, Planet, and Cosmos. Textile runs throughout the work since weaving is a fundamental social technology, providing adornment, protection, ritual, and commemoration in our journey from birth to death. I began using textile in my work in 2004 when it became necessary to ask - where does art belong in a mobile culture? Will the primacy of the wall continue, or will art, like technology, be situated on the body? My inner debate continues, as evidenced in these textile works for both the wall and the body.
In HUMAN, I reflected on confinement and the pandemic. The digital selfies on Instagram intensify our focus on the self, and on Zoom most of us seem oblivious to place. PLANET is a narrative about the state of our ecosystem, gesturing to a bitter-sweet crossroads of species survival: Cry human, Cry planet, Cry ocean, Remember me, Long wait, Too bad.
COSMOS shows the infinity of patterns in photographs of nature. The binary of abstraction/representation was seen as an opposition in the 1970s, but in digital photographs, the binary has a new reading that is collaborative. Infinity Loops, a group of multi-patterned wearables posted on phantasmic images of gemstones, and Terrestrial Stars, photographs restructured into prismatic six-sided polygons, manifest the generosity of patterns in the universe, patterns that exist within us and reverberate beyond us.
Terrestrial Stars: A connection/meditation on technical images as stars that are here among us, nestled in the leaves, in the underbrush, but compiled in the polyhedron patterning of the digital. A cosmic topology, echoes of the universe here on our home planet. The infinite as a variable reflected in the velocity of repetitions. Playing with gods. - Suzanne Bybee
Past Solo Exhibitions: The Art of Place: The torch, the flashlight, the earth, the body., 2024 Cosmologies, 2021
Take Back Your Body, 2018 The Art Of Sleep, 2015 DEEP Play, 2012 Jump Off, 2010
Scraps And Shadows, 1998 Re-constructions: water sculpture & altered photographs, 1995
Past Group Exhibitions: please come flying, 2022 Reviewed and Sold: Whats Next?, 2022 SYMPOIESIS, 2020 (s)(o)(f)(t) (w)(i)(n)(d)(o)(w)(s), 2020 The Scalability Project, 2019 Eleven x Seventeen, 2019 NADA House, 2019
Four Weeks And Forty-Five Years, 2017
Women On The Line, 2017
Who Cares?, 2017
Limitlessness, 2017
Cooperative Consciousness, 2016
Wish You Were Here, 2016
Unframed, 2015
If These Walls... II, 2015
A.I.R. ReFreshed, 2015
Wish you were here, 2015
Wet Paint, 2014
If These Walls..., 2014
Pumping Up The Volume At A.I.R., 2014 But that’s a different story…, 2011 Vestige: Traces of Reality, 2011 New Work by A.I.R. Artists, 1999 The Digital Print, 1998
8 at A.I.R., 1995
Works On Paper, 1995