Bigindicator

mahlOt SANSOSA

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From the 2012 Series Entitled: HeR., May 2012 Photography Large Scale
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From the 2012 Series Entitled: HeR., May 2012 Photography Large Scale © MS
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From the 2012 Series Entitled: HeR., May 2012 Photography Large Scale © MS
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From the 2012 Series Entitled: HeR., May 2012 Photography Large Scale © MS
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From the 2012 Series Entitled: HeR., May 2012 Photography Large Scale © MS
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Saudade..vin pi pre, 2011 Photo © ms
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Saudade..vin pi pre, 2011 Photo Sculpture © ms
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© ms
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© ms
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from the series: no. No No. i definitely choose yoU., 2011
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from the series: no. No No. i definitely choose yoU., 2011 Photo
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from the series: no. No No. i definitely choose yoU., 2011 Photo Sculpture © ms
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from the series: no. No No. i definitely choose yoU., 2011 Photo Sculpture © ms
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from the series: no. No No. i definitely choose yoU., 2011 Photo © ms
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from the series: no. No No. i definitely choose yoU., 2011 © ms
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Quick Facts
Birthplace
Mirangaba Bahia, Brasil
Birth year
1982
Lives in
New York
Works in
New York
Schools
Who Cares?
Tags
photo sculpture sculpture mixed-media, photorealism, nudes, self-portrait, self-taught, self-expression, figurative, sculpture, performance, conceptual, realism, photography
Statement

    BIO/CV

 

  mahlOt Sansosa (Born 1982, Brasil), lives and works in New York. As a multidisciplinary artist, she employs non fiction photography as the root of her practice. Born to a Brasilian Catholic father and an East African veiled Muslim mother, Sansosa spotlights the validity within cultural credentials, the dysfunctionality of what is perceived as 'authentic', in relation to displacement, self authorship, and what being 'African' means today. Emphasizing the complexities of Black & Brown female subjectivity, she correlates her immigration to the US to her independent studies of identity as it relates to intersectional erasure within cultural equity, sexual agency and the politics of corporeal location. 

 

Sansosa creates visual lifescapes drawn from collective visceral memory induced by her past, present, & the psychological actuality of what the future might be. She indicts singular notions of reduction and fragmentation projected upon minority female selfhood.

 

Working across a vast aray of mediums, she utilizes photography, performance, performative sound, video, sculpture & mixed media to instigate an anti monolithic, anti binary approach to rewriting & reintroducing the narrative of Black and Brown female identity, & its relationship to subjectivity. 

 

 

 

 

   Sansosa has exhibited her work in association with Yancey Richardson Gallery (New York), Rush Arts (New York), City Bird Gallery (New York) The Lesbian Herstory Archives (New York) Alexander Gray Associates (New York) Skylight Gallery (Brooklyn NY) Corridor Gallery (Brooklyn NY) Rhona Hoffman gallery, (Chicago IL), Woman Made Gallery (Chicago IL), Fountain Art Fair (Art Basel Miami) Square foot Arts (Art Basel Miami),
Galleria Continua (Italy) The Public (West Bromwich, England)

Public Art Exhibitions include: FLUX Jamaica, (Jamaica Queens) Bushwick Open Studios (Brooklyn New York) The Pelourinho Fest, in association with São João da Bahia (Salvador de Bahia) The Martha Machado Brigade (Havana, Cuba) via Roktowa Haitian Trembling Heart Residency

 

 

 

 

ARTIST STATEMENT -

The politics of my cultural, spiritual, & gendered hybridity leave me inherently subversive by design. I embrace holistically the perceived disruptive state of my autocratic selfhood, which in turn guides my practice.
Confronting and dissecting what it means for me to be in this body, in this place, at this time.
A Brasilian National, East African body, a Catholic, erotic, masculine of center body, Muslim, lesbian, drenched in an arrogance fueled by America, feminine, ironically reverenced, Woman's body.

I utilize literal, figurative, and tangible reflective objects, imagery and performance via sound to negate and dismantle the ideas of projectile authorship imposed onto my body from otherness.
Creating what it then looks and sounds like when the subjectivity & control of ones own accessible agency becomes autocratic vs democratic, in relation to the self governing politics of pleasure, worship, and movement beyond and without borders.