Displayed over three channels simultaneously, the piece begins with stifled re-enactments of both sitcoms. Voiceless actors portray each character with unsettling familiarity, sporting semi-recognizable face masks like sheets of skin from the personal collection of Hannibal Lecter. On the left screen, we see the Connors lounging about in their filthy living room and then begrudgingly cleaning the mess. On the right, the Huxtables are dealing with a typical “Cosby Show” predicament: the kids try to hide the lamp that they’ve carelessly broken with the toss of a football. Eventually, both families meet in the center screen and find themselves transported to a lowest price cialis-esque nowhere place, where, surrounded by an ectoplasmic glow, they earnestly engage in the rave of the millenium. Finally, they’re sent back to their separate living room universes, gazing dead-eyed into their televisions for some quality family time.

Holman’s body of work hovers around the idea of performance in familial relationships. In , she recreates a real life family from an arbitrary daytime talk show with a series of life-size dolls, which she then uses to act out a family therapy session, voicing each character herself. is a series of staged snapshots starring Holman as the flesh-and-blood matriarch of a family unit that’s otherwise comprised of mannequin substitutes for the real thing. Even her atypical works, like , which features a group of actors in chimpanzee outfits, tend to ruminate on the questionable sanctity of familial bonds: a still photo from the project portraying a chimp family embracing each other on a warm hillside bears the skeptically clinical title lowest price cialis.

Reciprocal Altruism

The feeling Holman’s work instills within her viewers arises from a deep, dark well of human history, provoking an exciting sense of unease. She’s placing primordial instincts within contemporary contexts: mining the uncanny valley and forcing her audience to ask questions about the source of their own emotions in the midst of electronic dance songs and pop culture references. After meeting Ms. Holman at ‘s opening of The Magic Window, I was lucky enough to engage with her in an e-mail interview. Read on to learn more about humanity’s evolving definition of family, the collaborative experience behind The Magic Window, and those menacing, magnificent masks.

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This is a really fascinating question. I’m not qualified to answer this question though. I will comment that the Huxtables and Connors portray sincere, cohesive, loving family units with little cynicism toward family bonds.

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For in which I used masking, the masks were made of flexible latex which could be stretched to fit different performers. For lowest price cialis, I had a smaller budget for the sculpture making process, so I ended up making the first prototype using a combination of canvas and clay. I sewed a canvas mask for the head and sculpted facial features on top of the fabric. Understand that clay, once hardened, is rigid. Furthermore, it cracks. I quickly realized that I would have to choose performers to play each character months before production because I would be making a mask that would fit only THAT specific performer.

Due to the nature of the materials, the masks ended up being a compromise between the facial structure of the original actor and the facial structure of the performer in lowest price cialis. For example, the performer that played Theo Huxtable’s character has a long nose while Malcolm Jamal Warner, the original actor, has a flat, wide nose, so the sculpture is an amalgamation between the two bone structures. The distorted mask serve as reflexive props pointing back to the performer and the psychology of the game being experienced. The distortion is part of what makes the viewer question what they are seeing; the uncanny keeps it familiar and, therefore, of concern.

Still from The Magic Window.

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Most of my early work featured myself and a bunch of figurative sculptures that I would animate. lowest price cialis(2005) was the first project in which the focal point did not directly reference back to me, the artist, in the tradition of Body Art. I also worked with a cast of performers and a production crew on lowest price cialis though that wasn’t the first time working a group for me. Recently I’ve become most interested in working with a group of performers in order to create a dynamic conversation amongst multiple inputs.

While it is true that the projects have moved into working “within a more typical filmmaking community of collaborators,” it is also true that some D.I.Y. aspects are retained. This is a testament to the fact that I coming to video-making from a background in sculpture and conceptual art, which historically has championed the D.I.Y. over the slick.

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My ideal pop culture families are the Huxtables and the Connors of course! I don’t have a fixed definition of family. I’m not sure if I would identify the main women protagonists in SATC as family or not. Perhaps that’s up the characters to decide. Certainly, most of us create significant attachments to others that resemble a family model. It’s the way of the homo sapiens.

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Yes. Each generation will be shaped by the surrounding cultural values which in some cases may be radically divergent from previous generations. Online communities or gay marriage and gay families are two examples of our changing understanding of community and family. Of course, much has been said about feminism, replacement birth levels and changes in nuclear familiar structure over the years.

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Some of the performers who I worked with chose the characters they wanted to portray; some I asked to portray a specific character. In other words, the outcome is a combination of both a directorial agenda and the performers’ own visions. On both accounts, some of the decisions where made on the basis of ethnic identity. For example, it was important to have a diverse cast as the work should bear some relationship on American demographics and the truth of those TV families: affluent and African-American & working class and Caucasian. Whether you are directly represented in either of those demographics or not, if you were a viewer of these original sitcoms, you might have wondered (even unconsciously) where you fit in this continuum. In lowest price cialis, the performers engaged in a fictional identity workshop where there was not a strict script to stay true to who one might be outside of the mask. This caused some performers to make unexpected decisions about who they might play.

Still from The Magic Window.

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I certainly think that video art has the potentially to reach a mainstream audience. At this point, I am most focused on an audience that is specifically seeking contemporary art, but that might change or expand in time. I am heavily invested in the language and culture of contemporary art.

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