Amanda Katz

Poems, by implication of their formal characteristics, have traditionally provided a metaphysical view of the world determined by causal relationships. I recognize the impulse to propel the “story” of a poem as an ending-dependent strategy for constructing meaning. My visual art practice provides a poetic form that resists this kind of historical motion, favoring a rawness of perception in which mind and body simultaneously encounter legible objects/installations. The physical dimensions of my artworks supply the bounds for linguistic motion; although the objects I produce are necessarily static, the texts they are composed of have no clear sense of beginning or ending. The main function of the texts, being compiled from fragmentary phrases from my poetry practice, is to break down the desire to hold onto an image or sensation before encountering the next, exposing the accountability of both the writer and reader in the desire for narrative. I believe that the physical form of the artwork can metaphorically bolster the way its language-content functions, creating a necessary bond between what is written and how those words become physical.

Currently I have become interested in creating site-responsive art that is dependent upon the engagement of both the viewer (as reader) and situational forces. I believe that site-oriented art is primarily a way of orchestrating both a perceptual and emotional condition within a certain location: a method for creating an idea space within an actual space. I am interested in how the public placement of non-functional and non-narrative texts can reveal a set of assumptions for not only how we read but also how we assign meaning to language encountered off the page.