2 Responses to “Cindy Rehm”

1. Cathy B.
   

   April 15th, 2009 at 6:33 pm

   Dear Cindy,

   I find Pink Bride smart and sexy. The hypnotic, pulsing geometry of the patterned upholstery becomes the orifice of private, sensual seizure.

   Shana Robbins tells me that both of you have work featured in Off the Strip in Las Vegas. Do you find any commonalities in how you and Shana observe ritual?

   Is it important that your ritual be private or do you see potential in a public enactment?

2. CindyR
   

   April 15th, 2009 at 10:42 pm

   Hi Cathy,

   Thanks for your comments, I love your term “sensual seizure”!

   Yes, Shana and I both have pieces in the Off the Strip show in Las Vegas. I wasn’t familiar with her work prior to that show. When I saw her images, I felt an instant connection. I think it comes from the interest in ritual as well as, a devotion to surface. Shana’s work has much stronger relationship to the natural landscape and metaphysics. My performances and video projects tend to be more aligned with tactile experience and the struggle to communicate interior sensations and emotions.

   I come to video through visual art and performance, and see my projects as performances for the camera. When I made live performances, I was incredibly insular and the works were comprised of subtle, intimate gestures; I saw them as private actions for the public. Often times, the viewers were too far away to see the important moments in the work. At some point I realized the video camera could be an intermediary between my body and the audience. The camera allows me to get closer, and editing lets me exploit repetition and fragmentation in ways that wouldn’t be possible in a live performance.

   Sadly, what is lost is the “charged” experience of the live body in time. Most of contemporary culture is cut off from public ritual, so focused acts of human ritual can be extremely powerful for both the performer and the audience.

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