ALLANA CLARKE

My artistic practice speaks to discomfort. I, a first generation Trinidadian immigrant, perceived as African American, did not understand the nuances of racial politics in American culture. I wasn't raised by the burdens or concept of blackness. But the burden was placed on my public self. This friction made me aware of the daily performances of our categorical existences, and the cultural signifiers we activate through our bodies and align ourselves with. It binds us. Is it possible to un-align signs from their signifiers? and embrace the disorientation caused by such an action?

Emerging from a deeply personal reflection my work ask sthe question “what toll does systematic un-mirroring take on the psyche?” How do you construct yourself for yourself and not be constructed by others to fill the desires of others? The body that I inhabit has a long and complex history that I have not held agency over. I have come to terms with that truth and aim to take control of representation and take my body back from the subjectivity of history.

This ideological thread is the basis for my practice. Fluidly moving through video, sculpture, printmaking, photography, and performance; my research based practice incorporates colonial, post-colonial, cultural, political, and art historical texts, searching-not for answers but-to feed my obsession with this idea of being unbound, of being more than my body.