同行/永存创伤 | Doreen Garner

“雕刻创伤意味着创造一件没有人能忘记的作品。我想把这些黑人女性的经历和创伤传达给观众，给他们留下持久的印象。”

——Doreen Garner

Doreen Garner at work on White Man On A Pedestal, a two-person exhibition at Pioneer Works, Brooklyn, 2017. Production still from the New York Close Up film Doreen Garner Sculpts Our Trauma. © Art21, Inc. 2018. Cinematography: Brian Redondo.

Doreen Garner. Poneros, 2017. Installation view: Pioneer Works, Brooklyn. Foam, blood-tinted polyurethane; 48 × 48 × 216.5 inches. Courtesy of the artist and Pioneer Works, Brooklyn.

“奴隶制这个词掩盖了奴隶制悲剧的细节，尤其是在医疗行业，有太多的事实是人们不知道的。”Garner喜欢塑造一种体验，不仅仅通过阅读文本来学习，她认为拥有与信息相关的体验真的会让人们记住它。

Garner使用的许多视觉参考来自日常生活中的地方，比如像全食超市肉类区的悬挂肉。她希望人们观看这个展览，然后在那些熟悉的地方结束，比如屠夫区，一遍又一遍地重温作品及其所基于的历史。

对Garner来说，雕刻创伤意味着创造一件没人能忘记的作品。她想把这些黑人女性的经历和创伤传达给观众，给人们留下持久的印象。希望观众能记住这些女性的所有历史，并与他人分享这些故事。

Doreen Garner at work on White Man On A Pedestal, a two-person exhibition at Pioneer Works, Brooklyn, 2017. Production still from the New York Close Up film Doreen Garner Sculpts Our Trauma. © Art21, Inc. 2018. Cinematography: Brian Redondo.

Doreen Garner. Rack of Those Ravaged and Unconsenting, 2017. Installation view: Pioneer Works, Brooklyn. Silicone, insulation foam, glass beads, fiberglass insulation, steel meat hooks, steel pins, pearls; 8 × 8 × 8 feet. Courtesy of the artist and Pioneer Works, Brooklyn.

Courtesy by CAPRI, Düsseldorf; the artist; JTT, New York; Photo by Achim Kukulies, Düsseldorf

Courtesy by CAPRI, Düsseldorf; the artist; JTT, New York; Photo by Achim Kukulies, Düsseldorf

Courtesy by CAPRI, Düsseldorf; the artist; JTT, New York; Photo by Achim Kukulies, Düsseldorf

Courtesy by CAPRI, Düsseldorf; the artist; JTT, New York; Photo by Achim Kukulies, Düsseldorf

installation view, She Is Risen, JTT, New York

Epigenetic Nacre Noire, 2019

silicone, epoxy putty, urethane plastic, synthetic hair, steel, pearls, interference pigment

76.5 x 50 x 18.5 in / 194.5 x 127 x 47 cm

installation view, She Is Risen, JTT, New York

Anarcha's Tomb: Anarcha's Womb, 2019 (detail)

wood, velvet, silicone, staples, synthetic hair, forceps

45.5 x 60 x 22 in / 115.5 x 152.5 x 56 cm

installation view, Full Body, Gillespie Gallery of Art, George Mason University, Washington D.C.

installation view, Full Body, Gillespie Gallery of Art, George Mason University, Washington D.C.

“忽视恐怖是不健康的。”Garner提出黑人总是被白人非人化，“作为一名艺术家，我可以激发一个人的情感，这个人可能有能力做出（关于纪念碑的）决定。因此，我确实有能力改变事情。我们正在进行的关于纪念碑和雕像的对话是对每个人的一个警钟，提醒他们关注最重要的问题：平等。”

“创伤是我选择的雕塑材料。这是与我们同在的。这是我们不能忘记的……我的作品描绘了黑人身体遭受科学客观化、实验、羞辱和医疗行业折磨的历史。我把无法阅读的可怕文档翻译成人们无法欣赏的物品、视频和表演。”

Removing the Veil: Vanity as Material for Incision, Essex Flowers, New York, NY

installation view, The Remains, JTT, New York

installation view, Steal, Kill and Destroy: A Thief Who Intended Them Maximum Harm, 

Halle Für Kunst Steiermark, Graz

THE PALE ONE, 2020
silicone, urethane foam, pearls, Swarovski crystals, barbed wire, hair weave, fluorescent light, aluminum, steel
60.5 x 36 x 45 in / 153 x 91.5 x 113.5 cm

installation view, Steal, Kill and Destroy: A Thief Who Intended Them Maximum Harm, 

Halle Für Kunst Steiermark, Graz

Roughly Documented, Three Million Eighty Eight Thousand Seven Hundred and Seventy Six, 2021
silicone, staples, tattoo ink, glass beads, urethane foam, steel, hair weave
36 x 50.5 x 10 in / 91.5 x 127.5 x 25.5 cm

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