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  Playing with the idea that we exist in a mirror world, dependent upon multiple memories and interpretations of the truth, my work starts with autobiography and extends into the realm of self-mythology, raising questions along the way about composite identity, basic psychoanalysis, and the division between what constitutes life and art. In order to do this I document personal, observed, and collaborative experiences to explore the psychological dynamics of the individual within the collective whole. In this process I am searching for moments of slippage when individual history becomes fantasy, or fiction through either individual or collective transmission.  In “Scalia Ballet” this transference is represented between my personal history with ballet and the live performance and video at the ICA, which is reflexive of a search for family, success, and ‘feeling felt’ in a world that grows increasingly more detached. 

Playing with the idea that we exist in a mirror world, dependent upon multiple memories and interpretations of the truth, my work starts with autobiography and extends into the realm of self-mythology, raising questions along the way about composite identity, basic psychoanalysis, and the division between what constitutes life and art. In order to do this I document personal, observed, and collaborative experiences to explore the psychological dynamics of the individual within the collective whole. In this process I am searching for moments of slippage when individual history becomes fantasy, or fiction through either individual or collective transmission.  In “Scalia Ballet” this transference is represented between my personal history with ballet and the live performance and video at the ICA, which is reflexive of a search for family, success, and ‘feeling felt’ in a world that grows increasingly more detached. 

Mirror Stage (2016)

DEAP Thinking Techniques

Ballet is a performance art installation that uses mimesis as a means of transferring and reversing childhood associations with loss and failure. In Ballet performance artist Patricia Brace covers the 4 gallery walls of This Friday Next Friday Gallery with mirrors and performs a 30 minute ballet barre class within this confining, reflective environment. By performing a ballet barre class (typically a private training exercise done in preparation for the live performance), Brace subverts expectations of viewership, ballet and rehearsal. Returning to ballet after a 20 year hiatus, the practice of ballet itself evokes extreme transference (redirection to a substitute) for Brace between herself and her environment, and in turn, the audience.

Playing with the idea that we exist in a mirror world, dependent upon multiple memories and interpretations of the truth, my work starts with autobiography and extends into the realm of self-mythology, raising questions along the way about composite identity, basic psychoanalysis, and the division between what constitutes life and art. In order to do this I document personal, observed, and collaborative experiences to explore the psychological dynamics of the individual within the collective whole. In this process I am searching for moments of slippage when individual history becomes fantasy, or fiction through either individual or collective transmission.  In “Scalia Ballet” this transference is represented between my personal history with ballet and the live performance and video at the ICA, which is reflexive of a search for family, success, and ‘feeling felt’ in a world that grows increasingly more detached. 

Mirror Stage (2016)

DEAP Thinking Techniques

Ballet is a performance art installation that uses mimesis as a means of transferring and reversing childhood associations with loss and failure. In Ballet performance artist Patricia Brace covers the 4 gallery walls of This Friday Next Friday Gallery with mirrors and performs a 30 minute ballet barre class within this confining, reflective environment. By performing a ballet barre class (typically a private training exercise done in preparation for the live performance), Brace subverts expectations of viewership, ballet and rehearsal. Returning to ballet after a 20 year hiatus, the practice of ballet itself evokes extreme transference (redirection to a substitute) for Brace between herself and her environment, and in turn, the audience.

   
  
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  Playing with the idea that we exist in a mirror world, dependent upon multiple memories and interpretations of the truth, my work starts with autobiography and extends into the realm of self-mythology, raising questions along the way about composite identity, basic psychoanalysis, and the division between what constitutes life and art. In order to do this I document personal, observed, and collaborative experiences to explore the psychological dynamics of the individual within the collective whole. In this process I am searching for moments of slippage when individual history becomes fantasy, or fiction through either individual or collective transmission.  In “Scalia Ballet” this transference is represented between my personal history with ballet and the live performance and video at the ICA, which is reflexive of a search for family, success, and ‘feeling felt’ in a world that grows increasingly more detached. 
Mirror Stage (2016)
DEAP Thinking Techniques
  Ballet   is a performance art installation that uses mimesis as a means of transferring and reversing childhood associations with loss and failure. In   Ballet   performance artist Patricia Brace covers the 4 gallery walls of This Friday Next Friday Gallery with mirrors and performs a 30 minute ballet barre class within this confining, reflective environment. By performing a ballet barre class (typically a private training exercise done in preparation for the live performance), Brace subverts expectations of viewership, ballet and rehearsal. Returning to ballet after a 20 year hiatus, the practice of ballet itself evokes extreme transference (redirection to a substitute) for Brace between herself and her environment, and in turn, the audience.