I AM INTACT AND I DON’T CARE
What if being an artist led to not having a room of one's own but instead many rooms of many owns? Many identical bedrooms decorated with flowers, fruits and liquids. It may also mean making oneself visible and available, no longer protected by privacy, always somehow reachable, all in one glance.
“In my many identical bedrooms I bleed, I dance, I work, I cry. My bedrooms are a cycle, my body is a material accessible via flat screens, my thoughts are recycled, my works get repeated and repeated. Degradation occurs. Exhaustion occurs. Distraction occurs.” said Reynaud-Dewar about the cycle she's entering this year. Indeed in 2013, she will commit to make and to show exclusively bedrooms, with very similar components, which will possibly go through various processes of degradation. Thus the title, a quote from Arthur Rimbaud's Bad Blood, is both a personal confession and a lie.
The bedrooms, with their ink fountains, are dedicated to writers the artist admires and whose writings have motivated her art practice through the years, like Marguerite Duras, Guillaume Dustan and more recently Eileen Myles. It is their use of their own biography, their life, their sexuality in the writings that Reynaud-Dewar wishes to pay a tribute to. The black fountain also explicitly refers to Jean Genet who wrote “In white America the Blacks are the characters in which history is written. They are the ink that gives the white page a meaning.” Reynaud-Dewar's work has consistently questioned the history of race struggle and the civil rights movement, though her use of such figures as Sun Ra, Genet himself, and Josephine Baker. By making this quote by Genet the central motif of her bedroom she aims to signify both the abstraction of skin color and the realities of the past and the present
Queer theorist and activist Elisabeth Lebovici wrote about Reynaud-Dewar's dance videos : “It is the ideology of the “passing” – defined by Nella Larsen- that is so moving here. The theater of gender is extended to race and sexuality, and Reynaud-Dewar extends it even further : within the premisses of public exhibition and the circulation of their related discourses. The question then is what can and can not be publicly exhibited : that is to say, in her instance : skin color, desire.”