Photo: Kate Warren, Joe Gibson

To Future Women is a 20 year time capsule of letters written to the next generation of women to memorialize the 2017 Women's March and ongoing #MeToo movement. It is a networked interactive artwork that invites participants - women, men and all gendered identities - around the world to write a letter to women in twenty years time. Part art and part history, this collection of letters will be archived for twenty years in Washington, DC by national museums and re-exhibited in 2037 on the 20th anniversary of the Women’s March. To Future Women uses the platform of art to historicize one of the largest single protests in global history.

To date, To Future Women has received over 3000 letters in 10 different languages, including from Hillary Clinton and Dr Jill Biden, and been covered by press all over the world. The project launched at The Phillips Collection on 21st January, 2018, the one year anniversary of the Women's March, and traveled to different cultural institutions in Washington, DC over the following six months, including the Smithsonian's Hirshhorn Museum & Sculpture Garden, the Anacostia Art Center, the Smithsonian Arts & Industries Building and IA&A at Hillyer.

 
 

Lullaby

 
 

Performance/Choreography: Vanessa Soudan | CINEMATOGRAPHY: Katie Schuler | Photography: KristIn Adair | sound: great waitress (Laura Altman, MoniCa Brooks and Magda Mayas)

Lullaby (2017-2019) is a 2-channel video installation that explores the relationship between architecture, gender and ritual within the monumental landscape of Washington, DC. Lullaby documents a series of performances staged at five of the monuments on Washington’s National Mall. Collaborating with performers Viva Soudan and Bailey Nolan, the artist developed a series of imagined ritual gestures that repurpose the heroic forms and masculine iconography ubiquitous in the nation’s capital. In doing so, Saxelby questions the symbolic spaces in which we perform our identities and value systems today.


Leveraging the classical propositions of the Greco-Roman derived monuments, the performers mold their bodies into the architectural forms, in turn inviting the forms to fit them. Through mirroring and contorting the architecture in the editing process, Saxelby manipulates the existing structures to create her own imagined virtual architectures. These espouse a new symbolic order that emphasizes the spaces in between. Entitled Lullaby, this work reflects Saxelby’s interest in ephemeral and performative systems of transmitting cultural knowledge and value systems in contrast to architecture’s permanence and rigidity. Lullaby seeks to collide the timely and the anachronistic, the poetic and the political, the imagined and the real.

 
 

The Architecture of a Witch's Hut

 

Photo: Subodh Samudre

In the performative installation The Architecture of a Witch’s Hut, Saxelby imagines the agency of the witch in building her own home and reconsiders the archetypal figure as a powerful symbol of female independence. The structure was built by the artist alone during a residency in upstate New York, and references the surrounding New England architecture and the real history of the burning of accused women in the area 300 years prior. Probing historical and cultural imagination, the project culminated in a ceremonial and collaborative burning of the structure with resident artists and the local community, reclaiming fire from a destructive and violent force to one of healing and regeneration.

 
 

BREAK

 
 
 

With guest performances by Machiko Motoi, Elizabeth Hogan and Adam Gottlieb. Photo: Kai Wasikowski

Finalist | 64th Blake Prize

Part installation, part audience-driven performance, BREAK examines ceremonial acts of catharsis involving the creation and destruction of totemic or sacred objects. The artist created a subversive space that facilitated a ritual performance which allowed for a temporary suspension of normal social behavior – particularly that within an art gallery. BREAK consists of a white wall-mounted grid, a new kind of shrine, housing ceramic figures developed from the artist’s research into the ubiquitous and ancient ceremonial use of dolls. In front sits a plinth that has been transformed into an altar.

With no formal instructions, members of the audience are intuitively invited to select a ritual doll and - standing on a pedestal facing the collective audience - smash it. Raising questions about the way museum objects are thought of as being able to transform the viewer morally or spiritually, BREAK collides the objective, rational, contemporary art spectacle with an audience driven, sacrificial destruction of artworks. A collaboration with a group of three performance artists lead to a series of evocative and emotive performances that played the role of opening ceremony and audience instruction.

 
 

Ritual Gathering

 
 

Edible sculpture in collaboration with renowned australian patissier adriano zumbo. Photo: Kai Wasikowski

Finalist | 64th Blake Prize

Ritual Gathering transforms a modern birthday celebration into a powerful symbolic event. The participatory installation disrupts the spatial hierarchies and viewing protocol of an art museum context to antagonize and reimagine the conventional language of art. The work sought to highlight the audience’s intuitive, triggered response to a deeply ingrained ritual process by presenting them with specifically arranged motifs to which they had to respond with no instruction.

The installation’s focus is a large painted cake - a living artwork that is consumed on the exhibition’s Opening Night - created in collaboration with Australia’s most celebrated patissier Adriano Zumbo. Twelve hand-painted birthday hats appear to float at head height under which twelve cushions act as place settings, inviting audience members to sit together and participate.  It intended to question the contemporary Western dislocation between art and ritual by challenging the audience’s role within the gallery space.