All photos by the author
Annons
Annons
Aïda Ruilova: I think this show is sort of an extension of my show I'm So Wild About Your Strawberry Mouth from a couple years ago. That show also focused on the body and its representation via images/advertisements but more as an escape from the body or as an altered state as location. The works in this show are focusing on the body and death. The materials are sort of a stand-in for the body—they're all extremely delicate and could easily fall apart. The collages are literally just hanging barely fastened to the black velvet, and I had those works purposely framed without glass so you could get a sense of the three-dimensional quality and their delicacy. My father was a surgeon. I think growing up around him and his work at the hospital, I had a different relationship to the body than most people. The interior of the body is dark, but if you light it up its pink. So there is this sort of mystery when it comes to our insides. The skin becomes the surface that binds us together.
In the late 50s Jayne Mansfield bought a home that she painted pink on the inside and outside. The house was filled with kitschy pink shag rugs, pinks furs in the bathroom, a pink heart-shaped bathtub, a fountain spurting pink champagne, and a heart-shaped pool. I see the space she created as a place that represented all things feminine to her, and a sort of exaggeration of the 50s idea of femininity. The pictures of her in her home are funny and pretty amazing. But just looking at those pictures of her home makes me claustrophobic. I thought of her home as a metaphor for the body and I used the image of her bedroom for my exhibition image because of how strange it was that the bed had been covered with a black velvet cover.
Annons
It's funny, I remember first being obsessed with Marilyn Monroe when I was a young girl and getting both Marilyn and Mansfield mixed up. They were interchangeable for me. Different versions of the same thing… You could add Anna Nicole to that list also, I guess. Marilyn Monroe became the legitimate, Hollywood blond bombshell icon, though, in posterity, and Mansfield never really reached that legitimate stature. Shen ended up have a lot of kids and then died young in a tragic car accident. Her daughter Mariska Haritgay is on Law and Order, which is one of my favourite shows ever. She was in the backseat of the car along with her siblings when her mother was killed in the accident. My obsession with Mansfield was heightened because of Kenneth Anger's Hollywood Babylon. Anger brilliantly conflated fictional tabloid-like stories about celebrities, including Mansfield, but then would include a very real image of Mansfield's car crash scene.
I wanted the sound of my film in the back space to guide the feeling of the show. I like that idea of hearing a sound and not knowing exactly what it is, so that it leads you somewhere else. Also, the film becomes a sort of soundtrack for the entire show along with the sound of the air constantly inflating the heart.
Annons
Wow, I never heard of the "weenie" – sounds kind of dirty. I guess you could liken that to Hitchcock's use of the term MacGuffin for the same type of thing.It's a similar concept. In addition to three rooms, your show incorporates three mediums: the collages, the inflatable sculpture, and the large video projection. Did you plan the show knowing you wanted to incorporate this variety, or did it expand during the process of putting it together?
I shot the film first in 2014 and then worked on the collages and the last work I made was the inflatable sculpture. Once I knew the scale of the space I would be working in at the gallery, I scaled the sculpture to the space. I wanted the heart to look as if it is pushing against the walls so you could see its skin giving in to fit in the corner of the space. So it kind of mimicked the way our own skin shifts when we press against another body or surface.
I have been collecting posters and lobby cards and other film-related ephemera for years. But I didn't start actually using it to work on until a couple years ago, when I started painting on the film posters. For this show I cut into the actual posters and the process kind of gave me anxiety because the paper was so delicate since most of them are from the 60s or 70s. The cut works sort of drape over the black velvet in the frames and the florals turn into these deep voids.
Annons
The velvet is behind the cut posters – so it creates an illusion from a distance. Once you see the cut collages close up, then you notice the details and how it's put together… lots of hand work.
I found a Rocky poster made in Poland that had a graphic of a pair of conjoined boxing gloves to make a heart. The gloves were a gorgeous red, and I hope I can make it in red one day, but for this show I felt the black version made sense. The black version abstracts the shape of the gloves so you're not exactly sure what you're looking at until you see the sculpture dead on. Also I think the black version makes the heart have more a physiological look and makes the surface of the heart more seductive.
I'm so used to Ray drawing on the walls or any surface around us that it doesn't really faze me. I sort of expect it and I guess he felt he wanted to add something to the show? I wish I could have seen the gallery interns panicking – that would be funny. I feel bad though if they had to clean it up. Sorry, guys and gals, that my husband tagged the walls at my show. Thank god, my son wasn't there. He would have done the same thing.
Annons