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Work Samples

aagricola_2018_installation-view-72.jpg

crypto currency, mining, landscape
This body of work investigates how man extracts value from the land. I created carved maps of landscapes with precious resources and painful pasts. The CNC, which carved the wood, traces specific areas of the map, digging into the plywood revealing hidden layers within the wood. As it delves deeper into the wood, possible blemishes and flaws are revealed as well as hidden beauty in the grains beneath the surface of the ply. I imagine a future where there is nothing left to mine; these relics of terrains with embedded cryptocurrency mining computers are all that we have left.

Light Body: Touch

The feeling of confinement with being in intimate relationships is one that often scares us away. There is a fear of becoming too comfortable, a fear of getting too close too fast, a fear of being objectified or conversely, fear of objectifying. In “Light Body: Touch”, I am addressing these relational fears and approaching the subject of exploitative objectification with my own body. The massage chair is one that is seen in many airports and malls, where people can stop and be touched by another on their way to their next destination.

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About Amanda

Baltimore City

I grew up in southern Appalachia, graduated with my BA in Studio Art from Hollins University in 2011 and received my MFA from MICA in 2015, graduating from the Mount Royal School of Interdisciplinary Art. Currently based out of Baltimore, I have shown work locally, and regionally from Vis Arts in Rockville, Maryland to Petzel Gallery in NYC.   Employing both digital and traditional forms of creation, I attempt to excavate a better understanding of the Anthropocene. I think of most of my objects,... more

Colere

Investigations into the inherant value found in the earth and the artificial and arbirary contruction of value by man.

  • aagricola_2018_installation-view-72.jpg

    crypto currency, mining, landscape
    This body of work investigates how man extracts value from the land. I created carved maps of landscapes with precious resources and painful pasts. The CNC, which carved the wood, traces specific areas of the map, digging into the plywood revealing hidden layers within the wood. As it delves deeper into the wood, possible blemishes and flaws are revealed as well as hidden beauty in the grains beneath the surface of the ply. I imagine a future where there is nothing left to mine; these relics of terrains with embedded cryptocurrency mining computers are all that we have left.
  • aagricola_2018_tapestries-72.jpg

    digital, quilt, augmented reality
    The works’ formal references are drawn from religious funerary rites and American quilts. They explore aesthetics of various power structures and reflect on histories of colonization of lands caught in the crossfire of humans’ thirst for power and material possession. Using dyes made from soils collected from these sites, I constructed quilts as both a reference for land plots and lotteries and connotations of gridded games that emphasize acquisition.
  • IMG_2932.jpeg

    digital, quilt, augmented reality
    This is the AR view of one of the digital tapestries. The video that maps the 3d stone is of my father-in-law searching digging in his back yard in Medellín, Colombia in search of a mythical buried treasure. The video was taken in 2015 and he has not stopped digging. The hole can now be seen from Google Earth. The wedding ring quilt pattern is made from scans of quilts that I made from fine clays collected all over including some from my home in Alabama and some from Medellín.
  • aagricola_2018_table-strategies.jpg

    games, colonization, landscape
    This sculpture is a cnc carved terrain of the land where I once played war-games with siblings and cousins. On top of the table is a deck of playing cards called “Trails of Tears”. Each card has a different print of a painting that I made right out of meditation. A symbol would come to me and I would trace it with a mixture of water and dirt from this location where I grew up. The water tension would build until it broke and would create a tear or two. Viewers are invited to play a hand of war, a children’s card game in which the winner is the person who holds all the cards.

Tabernacle

I began to draw an imperfect torus doodle over and over, exploring these energetic curves of life and death, paths taken and not taken - cyclical thought patterns made visual by a simple line. The idea of tents, coverings, skin, or some amalgamation of those came into play as I began to take these lines off the page into three dimensional space. I imagined these objects as having some power to hold the human spirit, like the sacred coverings that we call Tabernacles used in Christian funerary traditions to drape over the deceased as they journey on to the next destination.

Employing materials that have a useful history, I incorporated the Uhaul moving blanket. Reincarnated, these recycled blankets have journeyed all over the country, covering families cherished belongings, until they made it into my hands. Indigo and dirt are both used in dying the works in this show, and they too have a relationship to life, decomposition, transformation and alchemy. Interconnected patterns of circles play into this work again. Rings and circles are a symbol of wholeness and unity, having no beginning and no end, an infinite loop of creation, destruction and rebirth.

Bed = Island

In much of my work I am investigating our human relationships with machines and technology. My work analyzes societies’ closeness to devices - and their ability to heal or curb loneliness, pain, stress,

anxiety, ect. within us, while also assessing the increasing feeling of the loss of self in an advanced technological society (hence the surge of “self-help” and therapy industries with their quest for wholeness and centeredness). What effects (positive or negative) will devices have on the human body and psyche? We are now able to know the physical self in ways which were once very hard to imagine. We can track our heart rate, steps we take, hours of sleep, ect. all through a bracelet that communicates with an ap on our phone. While we are becoming closer to knowing certain aspects of the human body better, there is an increasing separation between body and self.

"Love Bed" is created out of the vocal waves of 60 people saying love. I create a topography out of language on which the body is able to absorb the meaning through touch rather than sound or site. In this resort, Bed=Island, all kinds of love is available through the most simple interactions - lying, sitting, standing, breathing. It is a product that can be misted on and absorbed through the skin as rosewater in an atomizer. On one hand, I naively hope and sort of believe that this is possible, and on the other I am commenting on the simplification of intimacy in our digital age, and healing in the new age.

  • Light Body: Touch

    The feeling of confinement with being in intimate relationships is one that often scares us away. There is a fear of becoming too comfortable, a fear of getting too close too fast, a fear of being objectified or conversely, fear of objectifying. In “Light Body: Touch”, I am addressing these relational fears and approaching the subject of exploitative objectification with my own body. The massage chair is one that is seen in many airports and malls, where people can stop and be touched by another on their way to their next destination.
  • Supported Heart

    This was a yoga and meditation workshop in conjunction with the “Bed=Island” installations in Maryland Art Place geared towards opening the heart using the yoga blocks from "Love Bed".

Say Love V. Luv

Love is a powerful word. It is also loaded and tied to strong emotions. Luv is a modern take on the word love. It is pronounced the same but it holds different connotations. It is used in a more casual and loose manner than the word love. A contributor to urban dictionary defines luv as “a casual way of saying you really like someone without freaking them out by saying I love you. Commonly used by people early on in relationships, where it is too soon to say I love you.”

“Love v. Luv” is a study on how different people say these words. When I record, I ask the person to think of the feeling of each word as they speak them. The frequency and volume with which different people say the words changes the peaks and valleys of the form. A pattern emerges, but every love & luv is different. This is a very rational approach to understanding an emotionally charged subject matter.

There is a lot to be observed in the ways people differentiate these words. I try not to ascribe too much meaning to the way the word has been spoken, but I do make notes and observations about the person’s form of “love” and “luv” based on my knowing them and other circumstances surrounding my relationship to them.

I am interested in the multiple transformations that take place through this process. The word goes from written form to spoken sound which is translated into a string of data that is used to create a form and then that is milled from a yoga block. The block is used in yoga to support the body in uncomfortable positions to let it relax more into a pose. Language is supported by the body, and here I have create a mutual relationship in which the body can be supported by language.

In this installation of “love vs luv” I installed the words which have been carved by a CNC router with a pile of what remains from love and luv along with an instruction for a heart exercise.

Reward Center

Maps of the landscape of my bed after two amorous bodies left their marks.

  • Reward Center

    “Reward Center” is a series of prints made by taking scans of my bed after making love, and splitting the 3-d scan into layers in order to create topographic maps. These visualizations of love, created by two amorous bodies in motion, can be looked at as landscapes or maps of the brain in love.

Virtual Votives: Unsolicited Offerings

In this performance, each time a new tweet with the word “painful” is received, an electronic candle automatically lights up (for 2 seconds) for that tweet. The idea that there is an undiscriminating machine praying for all pains, big or small, physical or emotional is of interest to me here. It is no more a choice on the part of the person tweeting to be prayed for as it is for the altar to be lighting offerings for those peoples’ pains.
As I meditate on the painful tweets that are coming in, I make an offering by touching my forehead (or third eye) to an i-pad, which triggers a new 3-d model of a vestal. Mateo Marquez participated by writing the code for this trigger and using a video mixer to create visual feedback. I composed the sound using recordings of my voice and cell phone tones. The volume increases with each tap of my third eye to the I-pad.

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Amanda's Curated Collection

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