Bouncy House. Epitaph to the Flame

Watercolor on paper,  2015-ongoing

As a component of my research in China, I designed and produced an all-white entry-less bouncy house in collaboration with Chinnee Inflatables, a factory that specializes in inflatable products located in industrial Guangzhou. I visited the factory to translate my design which brought together two strands of inquiry; at the moment I was reading Bataille’s Visions of Excess and was coping with the idea of art as an unproductive expenditure, and I also wanted to make a large-scale sculpture that could expand and contract while having a direct relationship to the body. The factory owners were skeptical about my design – four pillars connected by four walls with no opening - and asked about its functionality. I resisted telling them it was for art’s sake and after some resistance they agreed to produce my unproductive white bouncy house. When I got my customized bouncy house back in San Francisco, I discovered that the workers found a way to materialize my design while still make it accessible: they made vertical slits through the inflatable columns.

These are drawings made from intimate memories while bouncing in this object and include appearances by Jessica Robinns, Xandra Ibarra and Vito Acconci.

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Things that feed my practice: Building ethnographies, time collapsing,scale shifting, memory through drawing and observation, surveillance, hyper reality, fairs, consumption, sites of devotion, fake promises, the past, seasons, birthdays, Christmas, altars, architecture, temples, mathematical systems, mascot costumes, bathhouses, thresholds, faith, belief, food, inflatable sex dolls, the Golden Gate Bridge, Disco Music, Folk sensibilities…

 

 

© 2016 JoseJoaquinFigueroa