INSTALLATION * COLLAGE * VIDEO
Inside a Red Home & After as Trees
2024
Solo Installation at The Residency Project @ 808 in Pasadena, California, US.
INSTALLATION * COLLAGE * VIDEO
Inside a Red Home & After as Trees
2024
Solo Installation at The Residency Project @ 808 in Pasadena, California, US.
INSTALLATION * COLLAGE * VIDEO
Inside a Red Home & After as Trees
2024
Solo Installation at The Residency Project @ 808 in Pasadena, California, US.
Photos by Alex Kim.
Thank you, Alex!)
Exhibition Text
Exhibition Text
Exhibition Text
In Inside a Red Home and After as Trees, hazell installs a series of site-specific installations exploring concepts of home, grief, and place through sculptural recreations of a red house.
By installing scenes of a home outdoors, she highlights the sensitivity of the familial archives she presents, distorts and obscures.
At the same time, by presenting a home in dissections, she dramatizes this display as performance, presenting glimpses of a home without fully inviting us in.
A Note from the Artist
A Note from the Artist
A Note from the Artist
Exhibition Poster
Exhibition Poster
Exhibition Poster
Poster design by raya marie hazell
The outdoor exhibition was composed of four installations:
1. Inside a Red Home
2. Living Room III (See: Living Room I, Living Room II)
3. As We Grieve
4. After as Trees.
Inside a Red Home
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Inside a Red Home, I play pretend. I sketch what this world can be, starting with how I came into it. I retrace, steps and words. I reread and recontextualize. What was home? What did I want it to be? What can it be? Why can't it. In Inside a Red Home, I reenact ritualized labor: I make myself a home.
Inside a Red Home
SCROLL ->
Inside a Red Home, I play pretend. I sketch what this world can be, starting with how I came into it. I retrace, steps and words. I reread and recontextualize. What was home? What did I want it to be? What can it be? Why can't it. In Inside a Red Home, I reenact ritualized labor: I make myself a home.
Inside a Red Home
SCROLL ->
Inside a Red Home, I play pretend. I sketch what this world can be, starting with how I came into it. I retrace, steps and words. I reread and recontextualize. What was home? What did I want it to be? What can it be? Why can't it. In Inside a Red Home, I reenact ritualized labor: I make myself a home.
Living Room III
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Living Room III stages an interior dissection of a home using wood, found materials from 880's home, personal objects I carry throughout all my travels and pieces of furniture reclaimed from my legal 'permanent' residence in central LA. In collaging furniture, artifacts, and images from various homes —past and present, figurative and literal, mine and others—into a single interior, I condensed several of homes into the dramatization of one. In a lifetime of shifting homes, I have become well practiced in arranging and decorating an interior space. To construct, furnish and decorate an interior space outdoors reframed what it means to 'move-in'. What does it mean to make yourself comfortable, to make yourself at home?
Living Room III
SCROLL ->
Living Room III stages an interior dissection of a home using wood, found materials from 880's home, personal objects I carry throughout all my travels and pieces of furniture reclaimed from my legal 'permanent' residence in central LA. In collaging furniture, artifacts, and images from various homes —past and present, figurative and literal, mine and others—into a single interior, I condensed several of homes into the dramatization of one. In a lifetime of shifting homes, I have become well practiced in arranging and decorating an interior space. To construct, furnish and decorate an interior space outdoors reframed what it means to 'move-in'. What does it mean to make yourself comfortable, to make yourself at home?
Living Room III
SCROLL ->
Living Room III stages an interior dissection of a home using wood, found materials from 880's home, personal objects I carry throughout all my travels and pieces of furniture reclaimed from my legal 'permanent' residence in central LA. In collaging furniture, artifacts, and images from various homes —past and present, figurative and literal, mine and others—into a single interior, I condensed several of homes into the dramatization of one. In a lifetime of shifting homes, I have become well practiced in arranging and decorating an interior space. To construct, furnish and decorate an interior space outdoors reframed what it means to 'move-in'. What does it mean to make yourself comfortable, to make yourself at home?
As We Grieve
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Before an altar of citrus and watermelon, a recording of As We Grieve (a collaborative stage performance first performed in New York) was projected between two citrus trees.
As We Grieve is a multi-media immersive ritual performance piece that explores collective and personal grief in relation to genocide and ethnic cleansing in Palestine. Through mediating the creative practices of Dan Gorelick, raya marie hazell, and Marie-Terese Png, Bekah Badilla worked with each artist to create a container for a cross-disciplinary experimental work grounded in relational grief and communal support between the artists. As a catalyst, the piece centered contact with physical/sensory symbols of Palestinian land such as pomegranates, olive branches, sounds of mediterranean ocean and birds. Through poetry written by Png, grief rituals and movement exploration by hazell and Badilla, and music exploration and video/sound by Gorelick, the piece’s first public exhibit took place at the Paper Kraine theatre in Manhattan.
As We Grieve
SCROLL ->
Before an altar of citrus and watermelon, a recording of As We Grieve (a collaborative stage performance first performed in New York) was projected between two citrus trees.
As We Grieve is a multi-media immersive ritual performance piece that explores collective and personal grief in relation to genocide and ethnic cleansing in Palestine. Through mediating the creative practices of Dan Gorelick, raya marie hazell, and Marie-Terese Png, Bekah Badilla worked with each artist to create a container for a cross-disciplinary experimental work grounded in relational grief and communal support between the artists. As a catalyst, the piece centered contact with physical/sensory symbols of Palestinian land such as pomegranates, olive branches, sounds of mediterranean ocean and birds. Through poetry written by Png, grief rituals and movement exploration by hazell and Badilla, and music exploration and video/sound by Gorelick, the piece’s first public exhibit took place at the Paper Kraine theatre in Manhattan.
As We Grieve
SCROLL ->
Before an altar of citrus and watermelon, a recording of As We Grieve (a collaborative stage performance first performed in New York) was projected between two citrus trees.
As We Grieve is a multi-media immersive ritual performance piece that explores collective and personal grief in relation to genocide and ethnic cleansing in Palestine. Through mediating the creative practices of Dan Gorelick, raya marie hazell, and Marie-Terese Png, Bekah Badilla worked with each artist to create a container for a cross-disciplinary experimental work grounded in relational grief and communal support between the artists. As a catalyst, the piece centered contact with physical/sensory symbols of Palestinian land such as pomegranates, olive branches, sounds of mediterranean ocean and birds. Through poetry written by Png, grief rituals and movement exploration by hazell and Badilla, and music exploration and video/sound by Gorelick, the piece’s first public exhibit took place at the Paper Kraine theatre in Manhattan.
After as Trees
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After as Trees was a grief ritual facilitated in this space on Thursday March 14th. Before the ritual, the set waits in anticipation, materials gesturing toward future process. After the ritual, it's container lingers, hinting at the contents and choreography of a shared ritual held private. For more on the ritual itself, see here.
After as Trees
SCROLL ->
After as Trees was a grief ritual facilitated in this space on Thursday March 14th. Before the ritual, the set waits in anticipation, materials gesturing toward future process. After the ritual, it's container lingers, hinting at the contents and choreography of a shared ritual held private. For more on the ritual itself, see here.
After as Trees
SCROLL ->
After as Trees was a grief ritual facilitated in this space on Thursday March 14th. Before the ritual, the set waits in anticipation, materials gesturing toward future process. After the ritual, it's container lingers, hinting at the contents and choreography of a shared ritual held private. For more on the ritual itself, see here.