Rin Martin

22 year old visually impaired artist 

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Contradictory structures research

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476

Sand, king bedsheet, black thread

In this series of work I intend on playing with condensing material and giving delicate objects excessive weight. In 476 I create a sewn hatching pattern to condense the fabric and crochet the bedsheet onto itself to create a wilting and rotting look. The work reflects on the chaos of trying to create a sense of cohesion. The separate structures filled with sand, tie and knot themselves together with the excess crocheted material surrounding it. There are small invisible holes throughout the piece that slowly leak out the sand making the work ephemeral. The process of creating this hatching pattern on a sewing machine was therapeutic at times, but not because it created a sense of peace more so, because it allowed me to express this unexplainable anger that I felt towards the material. These fabrics were found bedsheets at a thrift store and they smelled of someone else’s home. I could sense a vast disconnect between myself and the material until I began sewing it, and at the end, looking at the pattern I had created I could sense the moments of excessive anger where I was pushing the fabric through as hard as I could, and the moments of peace where I felt like I could turn my brain off and let the machine do the work.

[rinm-art]

Final index

14. QCQ #3: The Gravity of Levity

15. Contradictory Structures: Research

16. Contradictory Structures: Final

17. QCQ #4: X Marks the Spot

18. Lost Statements: Research

19. Lost Statements: Final

20. Self-Directed Manifesto: Final

[rinm-art]

Lost statements research

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End of the roll

6in x 11in, 6in x 9in, 7in x 11in, 7in x 11in, 1in x 5.50in

Plater, liquid latex, metal jewelry

 End of the roll is composed of plaster casts of my rolls of chest binding tape. Replicas of an idealized version of what my chest would look like after top surgery are wrapped around these casts. The first set is made using my skin tone, and the second set is used with the colors that I do my drag makeup in. Finding is a very big part of my day-to-day life and it is also a very intimate practice. I wanted to play with the idea of this fantastical dream of reaching the end of a roll and not needing to tape again because of acquiring surgery. This work fits into my larger body of work where I document my usage of chest binding tape, and how that fits into my gender presentation while easing my day-to-day life. 

[rinm-art]

The weight of a mug

6x40

Plaster, burlap, liquid latex, makeup

The weight of a mug discusses the historical weight of using white face and drag. In the 1940s drag with scenes and act on by gender traders so in order to hide identity and avoid being hate crimed performers would paint their faces white as a base . This work analyzes the weight that comes with gender presentation and the performance of being in drag. The two faces sewn onto burlap sacks are liquid latex castings of my face one of them stitched together after being broken during the removal process. This artwork is connected to one of my video works “De-self actualization”, In the video I lip sync to Liza Minnelli’s Maybe this time from the musical Cabaret. In the song she discusses contemplating an abortion or keeping a child and how the presence of this child might change her life and her frivolous performing ways. I use the main chorus of this song peeling my face stripping myself of identity as a sort of self abortion. Aborting the self and the identity that does not feel my own. One that feels parasitic. In the background of this act, the isolated vocals of Liza Minnelli carry video and photographs of the evolution of my drag persona within the last five years. I think about the feeling of an anomaly that comes with being a queer person not just presenting and drag but on a day-to-day basis living in a state and a country that is not welcoming to queerness. The cast of the hand emphasizes that anomaly as I use a ceramic knot to mimic three extra fingers on my hand that be the weight of performance and the separation of self and drag. The plaster cascades from the cast of the hand onto the burlap strings that hold the faces alluding to a meshing of self and separate persona, creating a De-self actualization. 

[woundgallery]

Eva Hesse, Seven Poles

[sculpturegallery]

tony cragg

[newloverofbeauty]

Dimitris Papaioannou's 'Transverse Orientation' - a Performance

[rinm-art]

LIMITS: MIDTERM INDEX

1. Manifesto: Research

2. Manifesto: Final

3. Artist Presentation: Research #1 #2 #3 #4 #5

4. Manifesto Room: Collective/Subjective

5. Manifesto Public: Research

6. Manifesto Public: Final

7. QCQ #1: One Place After Another

8. Museum Visit 

9.QCQ #2: Das Sockelproblem previous semester

10. Kitchen Pedestal Sink Manifesto: Research

11. Kitchen Pedestal Sink Manifesto: Final

12.  Radical Theory and Practice - Self-Directed Practice: Final

[rinm-art]

Skype by Marguerite Humeau was my favorite work in the museum because of the material processes used to create this. The artist went through various rounds of casting dying and molding natural fabrics like raw wool and silk organza. The blown glass supports underneath the fabric components create a larger internal pressance to the figures. The shape and anthropomorphic qualities of this work drew me to it as opposed to the other works in the collection.

The metal work was my least favorite because of its rigid nature although I do appreciate the airy quality found in this metal structure.

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336

Red fabric, concrete patch, upholstery foam, red leather thread

336 is an experiment on technic discussing the imposed expectation of aggresivity and violence directed at butch presentation and the internal conflict to addressing this expectation. Deescalation rarely deters conflict but, creates more anger as the entitlement of reciprocated violence is unmet. There are moments of interaction with cis people that can leave me feeling as what I can only call “spiney” like an object that is untouchable and fragile. The aggression directed toward me often becomes a responsive call back of agression.

[rinm-art]

Shower

8ft x 2ft x 2ft

Steel gate, burlap panties

Shower discusses the unshakable mark that feminine socialization leaves. Regardless of identity or sexuality the experience of womanhood leaves a mark that cannot be discarded as identity evolves, or presentation alters. In my personal relationship with identity feminine misidentification can leave a feeling strain. A reminder of something I’m not. In these moments I think of the weight it takes to carry identity as well as the feeling of needing to wash away the cause of disidentifcation. The stricter of shower feels looming, disembodied, and constraining.

[rinm-art]