Graduate Alumni > Advanced Fiber Studio (Highlights)

Amina Ross (Fall 2014 and Spring 2015)
Amina Ross (Fall 2014 and Spring 2015)
"Body Con (Dress)"
US Size 12

I am an amalgam - utilizing the integration of both original and appropriated material to interrupt that material’s original meaning. Materials vary from written and spoken language to images of the body. “The body, manifold” is a poetic phrase derived from my own writings that I return to again and again. Manifold, meaning, the quality or state of being multiple and various. I am influenced by the paradox of simultaneous hypervisibility and invisibility within critical race theory, queer conceptions of (dis)embodiment and my lived experience as a brown femme queer woman.
Through repetition, I relay the manifold and multivocal nature of visual and written language. Language is often used to confine, constrict and define the body. Through the employment of video, sound, performance and installation, I reevaluate the identity and meaning of the objects-subjects within my work, providing these object-subjects with a crucial agency. This work probes the construction of the “other” through a series of industries and institutions. It draws from imagery, writing and material used within western medical practices, commercial entertainment industries, porn industries and other capital-driven enterprises.

My image-making practices are performative, collaborative and consciously constructed, bearing in mind the traditional roles and identities of the director, doctor, salesperson, performer- I subvert these roles by creating safe yet challenging means of production. Each piece is dedicated to the transparency of process, the use of quotidian materials, and familiar images to create quasi-immersive installations that may be deconstructed and revealed upon prolonged viewing.

Tension is palpable here. Seduction and repulsion are present. Positions of exhibitionist and voyeur are occupied. Both intimacy and alienation are felt. In experiencing these works, one is engaging with the problem of black visuality, the politics of looking, seeing, and being seen.