Southern Exposure Auction 2023
29 - Escott, Alicia - Disarticulated Production (untitled acorn) - 2021
Group 5
Closed
$450
Current Bid: $625
Ink on found plastic construction material
11" x 9" x 1"Courtesy of the Artist This work is from an installation focusing on the entanglements of built worlds and natural ecological systems. Each drawing is hand-rendered on scraps of plastic construction material then melted back together. The acorns represent a meditation on possibilities inherent in a seed, linking these seeds to social justice movements germinating in the dark unknown soil of the pandemic. It likens the ways Oaks entwine their roots underground to support each other and the proliferation of mutual-aid in this time. Escott's work is informed by science and the examination and undoing of cultural narratives. She is interested in how we each negotiate our day-to-day realities and responsibilities amid an awareness of the overarching specter of the climate crisis, mass-extinction, the subsequent (individual and collective) experience of loss, heartbreak and longing — and the related social and political unrest they produce. She approaches these issues with a practice that encompasses writing, drawing, painting, photography, video, sculpture, social-practice and activism, tailoring medium to issue. Alicia Escott’s work has been shown in over 90 art institutions, museums, galleries and alternative spaces including Berkeley Art Center, The Headlands, and Santa Barbara Museum of Contemporary Art. Her work has been written about in The SF Chronicle, Momus, and many more. She has been Artist in Residence at The Growlery, Recology SF, Irving Street Projects, Djerassi, Anderson Ranch, and The JB Blunk residency. Escott is a founding member of 100 Days Action who were recipients of the 2017 YBCA 100 List Award and is half of the Social-Practice Project The Bureau of Linguistical Reality featured in The Economist, The New Yorker, The SF Chronicle, KQED and many others.Artist Website@alicia_escott
11" x 9" x 1"Courtesy of the Artist This work is from an installation focusing on the entanglements of built worlds and natural ecological systems. Each drawing is hand-rendered on scraps of plastic construction material then melted back together. The acorns represent a meditation on possibilities inherent in a seed, linking these seeds to social justice movements germinating in the dark unknown soil of the pandemic. It likens the ways Oaks entwine their roots underground to support each other and the proliferation of mutual-aid in this time. Escott's work is informed by science and the examination and undoing of cultural narratives. She is interested in how we each negotiate our day-to-day realities and responsibilities amid an awareness of the overarching specter of the climate crisis, mass-extinction, the subsequent (individual and collective) experience of loss, heartbreak and longing — and the related social and political unrest they produce. She approaches these issues with a practice that encompasses writing, drawing, painting, photography, video, sculpture, social-practice and activism, tailoring medium to issue. Alicia Escott’s work has been shown in over 90 art institutions, museums, galleries and alternative spaces including Berkeley Art Center, The Headlands, and Santa Barbara Museum of Contemporary Art. Her work has been written about in The SF Chronicle, Momus, and many more. She has been Artist in Residence at The Growlery, Recology SF, Irving Street Projects, Djerassi, Anderson Ranch, and The JB Blunk residency. Escott is a founding member of 100 Days Action who were recipients of the 2017 YBCA 100 List Award and is half of the Social-Practice Project The Bureau of Linguistical Reality featured in The Economist, The New Yorker, The SF Chronicle, KQED and many others.Artist Website@alicia_escott
