Grace Marie DeWitt
Artist Statement: shedding ouroboros (whether the whole is the same as its parts)
I’m compelled to believe that all things, living and nonliving, are part of a great thriving and great coping in this life. Much of my work involves admiring the impressionable nature of ephemeral materials specifically. My sympathy for these materials and their archival capacities––as well as their unexpected or even humorous contributions to the common story of existence––helps me process ideas related to mortality, inevitability, and humility.
shedding ouroboros (whether the whole is the same as its parts) is a reinterpretation of two prints on conjoined paper towels that were shown in the original presentation of this exhibition five years ago. Following a corporal urge to deconstruct and perhaps satirize previous work, as well as musings on change versus growth, shedding ouroboros was made by using analog methods to physically “glitch” those earlier prints, digitally translating the distortions into GIFs, and then projection mapping them onto blank paper towels.
Like the ouroboros, the projected images are both visibly and procedurally cyclical: infinitely limited. Their movements are the product of collapse and expanse, flatness and fullness, moments of paper, serpent, pixel, and the inarticulate in between.
About: Grace Marie DeWitt
Grace Marie DeWitt is an interdisciplinary artist and arts coordinator in the DC-area. Grace’s recent work focuses on projection mapping and analog forms of glitch. At the base of her practice is an intrigue with tangible and intangible material, preciousness, and dissolution. Outside of her studio, grace is the associate of national and international programming at the National Museum of Women in the Arts, where she works on the museum’s Women to Watch contemporary exhibition survey.
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