Stacey Lee Gee

1. Sapling Revolt (2018) – Manipulated sapling trees from my backyard, dagger blanks, white shag carpet, dye, acrylic paint, metallic scent

2. Bed as Altar (2020) – Grandmother’s bed, bed linens, lamps, lace, tablecloths, 1980’s wallpaper, internal lighting, scent of Bill Blass’ NUDE and 3rd hand smoke, 160 x 100 x 28 in.

3. Rescue was a long way off (2019) – Manipulated metal playground staircase, structural steel, manipulated 1963 Marx Dollhouse (Tin), 42 x 27 x 12 in.

4. Wednesday’s Child, Full of Woe (2017) – Found bench, satin cushion, 1940’s porcelain lamb, cast lamb replicas in wax, plaster, silicone, rubber, plastic, concrete, 24 x 54 x 19 in.

5. You Can Have 3 Wishes While the Ground Still Stands (2017) – Cast concrete lego houses, patch of Iowa ground, enclosed plexiglass case, 15 x 15 x 15 in.

6. Fuss Fuss Sarcophagus (2018) – Three used wedding dresses, manipulated found wood, dirt balls, golden mirrors, porcelain mirror with water, scent of pine and vetiver, prairie reeds, 248 x 168 x 140 in.  (dimensions variable)

7. One Dozen Eggs (2020) – Grandmother’s kitchen table, crochet tablecloth, brass lamp, 12 metal spoons holding 12 eggs, scent of Bill Blass’ NUDE and 3rd hand smoke, 65 x 60 x 60 in.

8. Open Secret (2019) – Used garments, used household linens, touch sensitive vibrating motor, manufactured cherry scent, 105 x 120 x 100 in. (dimensions variable)

9. Still room, Wear no forced air (2020) – Grandmother’s kitchen chairs, porcelain framed mirrors, 5 foot brunette braid, 48 x 70 x 90 in. (Dimensions variable depending on installation)

10. She Dances Like a Bomb (2018) – 1970’s side-table lamp, Edison light bulb, Arduino, 24v motor, tropical print skirt, floral scent, 44 x 13 x 13in. (when stationary)

ARTIST STATEMENT

Amidst society’s ever-shifting power systems and the distortion of truth that comes with it, I find solace in the study and arrangement of worn out things. The objects we interact with in our everyday lives hold a profound power, preserving evidence that cannot be erased. They carry with them both the literal smells and markings of a life lived and the weight of cultural references evoked by their specific past. These artifacts are the ideal medium to overcome our tenuous relationship with truth.

The story of culture is always being written, one that pulls in the past to conjure a new narrative. My work is an observation of that ongoing conversation, an exploration of the complexities and contradictions of memory; a rebellion against the notion that the past is fixed and unchanging. I create environments large and small, as installation or sculpture, by arranging objects that are no longer bound by their original function. The presence of familiar smells and recognizable childhood playthings helps to further distort these arrangements until the edges of a new story materialize.

artist’s website

© Stacey Lee Gee