Brittany M. Watkins
Lives and works in Columbia, SC, USA
Artist statement
As daily life becomes more deeply entrenched with the screen just a fingertip’s length away, the rapidly expanding consumer culture infiltrates collective consciousness. My art examines the emotional, physical, and political detritus overflowing in present-day America through a lens of psychoanalysis and social critique. I scrutinize the relationship between private, psychological space and its counterpart: the public, edited, physical world. For years, I’ve been collecting things and information as a starting point for large, temporary installations. Whether picked up from a neighborhood street or stained, slept on, and worn to the point of no return, I became increasingly interested in remnants of daily life. In recent years, I began mining bits leftover from these ephemeral sites. I believe the resulting work continues to draw a line between the object and the individual, underscoring widespread socio-economic concerns and fluctuations in stability. As the installation moves from the living present into memory, its physical form returns to waste. Material goods emerge from abject space, an echo of their former selves, clinging to established roles (purpose, value, and worth). I hold these belongings (mine and others) in my hands and imagination, a ritual, in preparation for a performance of deconstruction and rebuilding. Life—death, rich—poor, free from or subject to. Alleged binaries rise as the gap grows wider.
Artwork
- The Brink of Collapse, 2025. Wood, paper, clothes, carpet, tarp, shower curtain, door, window, roof shingles, wooden paneling, linoleum flooring, towels, blankets, pillows, cardboard, rope, light, tin siding, kitchen utensils, pallets, boards, acrylic & latex paint, pastels, chalk, & spray fixative.
- Feeling Use-full, Again, 2024. (Remnants from past installations), rags, rug pads, dry wall, couch upholstery, wood, cushion foam, plaster, cardboard, vinyl, cloth, insulation foam, metal, plastic, step stool, with book, and candle lamp drenched in acrylic & latex paint.
- Manufactured Consent, 2024. Performance, handmade dress, cinderblock, leather whip, American flag, rope, body, voice.
- SOURCE UNKNOWN, 2022. Found & altered objects, mixed-media, paint, & light.
- Maladaptation Sits, 2021. Thirteen removed chair legs, one solid armchair, seven partial or broken chairs, half of an ottoman, two telephones, five cushions, a refrigerator door, four wooden drawers and various compartments, and cinderblocks on vinyl with paint.
- <Accept [(Self) + Elsewhere], 2017. Mixed Media Installation
- Under them-there Hills, Mama..., 2019. Mixed Media Installation
- Blood Orange; Suspended Breath, 2022. Video, socially engaged performance, site-specific installation, fiber, audio composition, & text.
- Blood Orange; Suspended Breath, 2022. Video, site-specific installation, socially engaged performance, audio composition, text.
- Levadopa Callous [From AFFECT-ED, BEING], 2018. One altered loveseat, one lamp, one refrigerator, two cushion covers, part of a used bedsheet, cinder blocks, and a scale, coated in paint with colored light.
- Projection; Part I (Kathy Betterman), 2021. Video-performance & audio composition.
- Donna's Antenna [From AFFECT-ED, BEING], 2018. Composed of found household items coated in layers of paint, video-performance, photography, digital animation, unfired earthenware, and audio composition.
- Something to Have; Kami, 2018. Video-performance, digital media, & audio composition.
- Shifting Tides [From AFFECT-ED, Being], 2018. An altered armchair with hand-sewn upholstery and used bed sheet stretched on wood with paint.
- Kami; Untenably So..., 2019. Video-performance & audio composition.
- <Accept [(Self) + Elsewhere], 2017. Composed of found household items coated in layers of paint and audio composition.