02.08.2017 - 25.08.2017
DEEP/SLOW investigates the potential for queer subjectivity and atypical modes of desire to be explored as virtual centres of power. The installation contains video performances that pair queer bodies between the embodied and simulated with CGI rendered environments and objects. This pairing is also represented in a floor based steel sculptural form.
A queer perspective is not universal nor is it homogenous. However through aesthetic and creative production we can resist existing systems of power that shape our experience. Munoz describes a queer aesthetic as having the capacity to map a forward-dawning futurity and to carve paths of potentiality (1). Queer manifestations/spells/delusions materialise. A flesh that flows, a sound that fucks, a platonic hard on. A virtual connection is as good as a real one. It won’t let you down and can go for hours. Intellectual/emotional/visual/aural stimulation, the pleasure is polymorphic, expansive and multiple. Through video and sculpture DEEP/SLOW moves towards a subtle body politic and mindful contemplation where queerness can reveal alternative modes of desiring and utopian ideals.
1. J. E. Munoz, Cruising Utopia: The Then and There of Queer Futurity, NYU Press, 2009
Katherine Corcoran is an artist working in video, sculpture and performance. Her practice is led by an interest in virtual intimacy, queer embodiment and affect. It examines queer subjectivity and modes of desire that resist the production of norms. In 2014 she completed a Bachelor of Fine Arts with First Class Honours from University of New South Wales Art and Design. She has been the recipient of the Barry Keldoulis Grant for Emerging Artists, the Art and Australia Graduation Award and the Bent Art Prize. Katherine has exhibited nationally and internationally and been included in shows with Casula Powerhouse, 4a Centre for Contemporary Asian Art, Archive Space, Verge Gallery, Underbelly Arts Festival and the Grace and Fyfe Gallery at Glasgow School of Art.