504/GWT

Adonia Bouchehri is an artist working across sculpture, installation,performance and video. Selected for the 2020/2021 Flamin Fellowship, her work investigates how the images we live and grow up with affect our bodies. She perceives images as agents that can inhabit the body and structure our feelings and perceptions. Utilizing a combination of CGI, live action footage, sculpture, and writing, Adonia creates spaces that bring together elements from lived experiences as well as those that spring from an imaginary place. She is particularly interested in thinking about the moving image as an in-between space, a fragmentary realm that can traverse places and create and open up new ways of inhabiting spaces.

RECENT EXHIBITIONS & FILM FESTIVALS

The London Film Festival, VAS/SSA Scottish Royal Academy, Goethe Institute Canada, Videoex,B3 Biennial of the Moving Image,MUTEK  








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ABOUT


Adonia Bouchehri is an artist working across sculpture, installation,performance and video. Selected for the 2020/2021 Flamin Fellowship, her work investigates how the images we live and grow up with affect our bodies. She perceives images as agents that can inhabit the body and structure our feelings and perceptions. 



︎︎︎ Email
︎︎︎ Instagram


The Common Life


I care not so much what I am to others as what I am to myself. I will be rich by myself, and not by borrowing.





The Common Life
Wallace Stevens
 1939

That’s the down-town frieze,
Principally the church steeple,
A black line beside a white line,
And the stack of the electric plant,
A black line drawn on flat air.

It is a morbid light
In which they stand,
Like an electric lamp
On a page of Euclid.

In this light a man is a result,
A demonstration, and a woman,
Without rose and without violet,
The shadows that are absent from Euclid,
Is not a woman for a man.

The paper is whiter
For these black lines.
It glares beneath the webs
Of wire, the designs of ink,
The planes that ought to have genius,
The volumes like marble ruins
Outlined and having alphabetical
Notations and footnotes.
The paper is whiter.
The men have no shadows
And the women have only one side.

© 2345—45/