Anna Wallace presents The Futility of Womanhood in Three Acts. Arching between absurd humor and painful honesty, Wallace manipulates her own body to perform actions with oversized plush versions of a Diary, Brick, and Cootie Catcher. These painstakingly detailed soft-sculptures created by Wallace are grossly enlarged, allowing her feelings take on a physical presence, threatening not only her sanity but also her body.
Lowell Fuchs performs for decorative purposes only: I spent much of my childhood in antique stores. My parents are avid antiquing hobbyists with antique booths that they’ve catered to on the weekends for almost two decades. The interior of our home was filled with antiques. The basement was used for storing the antiques that failed to be purchased in the shop, while the remainder of our home was a canvas for which my mother practiced her remarkable interior designing artistry with artifacts too treasured to be sold. Over the years, I acquired a small collection of old antique percussion instruments, along with other old musical oddities. Among these is a pump organ that was beyond repair when purchased. I decided to strip out its inside and make a desk from the frame that I could write music on, thus repurposing this musical object for another musical purpose.
for decorative purposes only is written for antique artifacts that have since transitioned from functional to decorative. Using amplification, live processing, and a series of unconventional techniques, these artifacts are reanimated and used to create a quasi-improvised work. Each performance will use a set of different and interesting found antique objects.
Both Wallace and Fuchs utilize a careful mix of preparation and opportunity for improvisation. Experienced together these performances heighten awareness of the potential in the most ubiquitous of objects, such as a glass bottle, an old radio, a brick, and a folded up piece of paper.
Anna Wallace (b. 1990, Durham, NC) is a current MFA candidate at the University of North Carolina at Greensboro. In 2013 she received her Bachelor of Fine Arts degree in Ceramics at the Cleveland Institute of Art in Cleveland, Ohio. Wallace has also supplemented her education with classes at the Penland School of Craft and two research trips to Europe funded by the Cleveland Institute of Art and the University of North Carolina at Greensboro. With a background in ceramics, she now adds textiles, video, and performance to her list of mediums, while maintaining a focus on the handmade. Between these widely diverging avenues runs the narrative thread of Wallace's own struggles and triumphs.
Lowell Gerard Fuchs (b. 1993, Atlanta) is a multimedia artist who currently resides in Greensboro, NC. An explorer of unique extramusical concepts, Lowell’s curiosity shepherds his compositions in various directions. From graphic art notation constructed from oil stains, to multimedia works conceived from theories in neuroscience on reality and consciousness, a fascination of human perception, social movements, and sense of community are the cornerstones to his work. Much of his works encompass a strong symbolic and programmatic undertone, often concerning community, impermanence and the human condition.
His recent works include, MAYA (commissioned by saxophonist Reese Burgan, VDAY Global Organization, and Lone Star College Montgomery - Houston, TX), People (commissioned by pianist James W. Iman, Pittsburgh, PA), and AMERICAN BEAUTY (commissioned by Bent Frequency, Atlanta, GA). Lowell is currently working on a multimedia work commissioned by Chamber Cartel (Atlanta, GA), a work for loadbang (NYC), and a series of quasi-improvised works that reanimate antique artifacts for musical purposes. His music has been heard at New York City Electroacoustic Music Festival, Atlanta’s SoundNOW Contemporary Classical Music Festival, Boston’s Summer Institute for Contemporary Performance Practice, Charlotte New Music Festival, the XXII Festival Eduardo Mata in Oaxaca, Mexico, and elsewhere.