Tuesday, October 22, 2013

Artist Prudence Groube's lively world of MIMACHAN offers a whimsical and compelling alternative way of seeing. Use the tabs above to explore MIMACHAN's world through a variety of media and themes. From inks on paper to oils on canvas, cityscapes to abstract works and more, there's something for everyone. Not sure what you're looking for? View a slideshow of all the works, by clicking on the MIMACHAN's Slideshow link to the right of the overview.

Below you will find the blog, which allows an inside look at the artist at work. Join in on Prudence's artistic process: see new works, read poetry, and learn about publications and new projects as they develop in real time. The blog is updated weekly on Tuesday, so don't forget to check in when you can! You can also trace the development of Prudence's work and ideas over time by browsing through the extensive archive of past blog posts.
 
The Resume tab on the far right details Prudence's qualifications as well as past exhibitions, curatorial events, and publications. Further detail on the publications can be seen by clicking the Publications tab.
 
Feel free to contact MIMACHANstudios in regards to sales, custom projects, or any inquiries at all by clicking on the Contacticon on the upper right.

Sign up to follow MIMACHAN under the Follow by Email link to the right. Be the first to hear about what's new and enjoy exclusive VIP invitations to openings and other perks.

Just want to know what it's all about? Read MIMACHANs Manifesto at the bottom of this page.

Where Do I Go When You're Not Here?


Aliza - Nude
17x19" ink on Paper

What shapes do we leave on the world?
MIMACHANs recent solo show at Peanut Undergraound presented works from her new series "Where Do I Go SWhen You're Not Here?" that addresses the many different ways through which one's identity is formed.

Four subjects volunteered to have their movements "cyber-stalked" over a period of 7 days, reporting in their location at 5 specified times each day. Subjects were encouraged to report the thoughts shaping their actions at that time and to share any images of what they were seeing in that moment.

Detail from subject "dossier"

Using standard latitude and longitudinal tracking, multilayered "maps" were plotted of each subject in relation to MIMACHAN as "the Prime Meridian." 

Joseph - Portrait detail
24x36" ink, pen on paper


 
Sarah - Portrait detail
24x36" ink, pen on paper

 Each subject's map ultimately reveals a dominant shape unique to that subject's habitual pathways, creating an alternative portrait of each. By offering a new way of seeing their shape outside the conventional standards of self-evaluation such as height/weight/eye color as documented in a standard questionnaire completed at the beginning of the study. Viewing only through traced lines of day to day movement offers an alternate view of the individual as the sum of their habitual and impulsive actions. Being confronted with a mindful reporting of these subconscious routines encourages a questioning of what shapes us and if we desire change, how we may begin to shape ourselves.





Self - Portrait detail
24x36" ink, pen on paper

Self - Nude
14x17" ink on paper


 Detail from subject "dossier"



For sales and information please contact Katie Peyton at The Peanut Underground: 
917.723.2524 or email kp@peanutunderground.com

Monday, September 9, 2013

Specimen A - Definition (noun): The Matter of Us

 
Central Booking focuses on the artistry of books and prints. The gallery, which recently moved to the Lower East Side from its original Brooklyn location, invited MIMACHAN and her collaborators in the video project "Bookdress: Tongue to Foot" -artists Joseph A. W. Quintela and Aliza Tucker - to stage a pop up show to celebrate the first screening of their new film.

 
"Definition: (noun): The Matter of Us" 

August 19 though August 26, 2013
Central Booking, New York NY

Featuring works by Prudence Groube (MIMACHAN) Joseph Quintela, and Aliza Tucker that share the film's focus on the questioning of the practices and politics that drive the meaning-making process of giving definition. 

Questioning: What makes the matter of us? How does definition matter? Are the words that we have been given sufficient to the task at hand? What matters? Institutionalized definition? Or the meaning we make out of everyday living? Working definitions? Can definition ever be individuated? Or is it always a matter of Us?  With objects re-purposed from their conventional usages, each of these artists redress contemporary modes of consumption and the production of Self resultant from these processes of meaning making.  
  



What is the matter with us?




Specimen A begins by examining the definition/meaning of an object 
that is ubiquitous and simple. 
 
The apple.


The choice of the apple as the first symbol in MIMACHAN's new “Language of Being” stems from my own struggle with an eating disorder and OCD, which at its peak left me almost dead subsisting off one apple a day.   



Apples became the the symbol of salvation as I fought back against the disordered instruction list, the “Language of OCD,” that is a torrent of distorted symbols of identity, need, purpose, and value. Creating a new language of Self that allowed me to write my own story/instruction list for my future became essential for my survival. 


Drawing from the old adage “you are what you eat,” The prints are made by choosing a subject apple slicing it in half and using it's interior surface as a stamping plate. Each apple is only able to make a limited number of prints before its 'plate' corrodes. Prints are appropriately numbered and the apple plate used to create them documented by photo before its seeds are removed. To remake any of the prints would require the planting of the seeds and waiting for the resulting tree to mature and bear fruit.

The repetitive nature of the printmaking process and the extended time required between “re-runs” of any edition, mirrors the mind state of OCD : the endless compulsion to repeat a series of actions or restrictions.  The prints are monochromatic to amplify the micro differences in shape between fruits and again emphasizing the act of repetition.



The seeds are stored in test tubes and then "planted” in uniform rows in the first installation element in the center of the room, each specimen is marked by a portrait of the mother fruit and references its corresponding print. The portrait is both the voyeuristic evidence of consumption and honorific to the sacrifice of the fruit.
















The 'Consumption Closet' is an opportunity to engage in the process of mindful consumption. 

How do I consume when I am alone? 
What changes when I know I'm being watched? Why? 

The digital display invites those outside the closet to a peep show – is consumption shameful? (Sufferers of the mental illnesses of eating disorders OCD often feel tremendous shame and go to great lengths to hide their behaviors) - As the eater inside faces these questions our voyeuristic participation throws the questioning light back on ourselves.

Guests at the reception were invited to consume an apple inside the consumption closet whist being filmed.  MIMACHAN got some truly amazing footage and is currently working on the next installment in her video series - a short film of the goings on insdie the Consumption Closet.  MIMACHAN ate the last apple on the last day of the installation, during the closing afternoon tea reception, during which the artists performed life readings from their works.  Read a transcript from the scroll below.

Specimen 4: Red Delicious Organic. Monoprint. 
96"x20' (approx)  ink on paper

Transcript:
London calling was the song 
you played on the jukebox 
right before dear prudence 
we always followed it with 
Johnny cash 
or the doors 
we liked it because that song 
was the most bang we could get 
for that quarter 
which at the time 
was split between the 50 c games of pool and 
the 2 50 scotch whiskey s 
we drowned ourselves in 
at the bar
I still remember that time 
through a frame 
of a glowing velvet square of green. 
Cadmium green was always your strongest color. 

I wonder If
 I am still seeing the world 
through that colored frame 
through you. 
So I paint in red 
I am read 
you play me on repeat 
some game 
that compels me to master 
I continue to level up 
but it doesn't look 
like the video games 
I watched you play 
for hours 
waiting for you 
to see me 
but you never did 
I saw you 
the  thousands of cuts 
hash tags and cross hatched
on supple skin 
I read you with my lips
 in the blue light 
that always seems to come 
with the morning after..
 The night you played London calling
on the 25 cent jukebox. 
Played on repeat 
play 
play on repeat 
play on repeat 
on repeat  on repeat repeat on repeat repeat   
Repeat eat repeat eat repeat eat repeat
eat eat eat.

Friday, August 16, 2013

Subject: J.Q. #1979-34 5.7.130##
work under construction
Stalks Series 2013

Just a little teaser for my show coming up at the Peanut Underground (215 E. 5th Street, Lower Level, NYC) opening Tuesday August 27.  

I "stalked" some generous volunteers who faithfully reported in their locations at given times during a seven day period and used their geographic information to form a portrait of each.

Our choices and actions shape our world - what is your shape?

Check out the Peanut Underground here: www.peanutunderground.com

Please join MIMACHAN in celebration of this new project at the artist reception Tuesday, August 27 at 7pm.


Tuesday, July 30, 2013

Portrait of Vanessa Place
digital photography/print 
Guerilla Poetry series MoMA New York 2013

I was thrilled to interview Vanessa Place for Discordia Magazine last month about her newest venture Vanessa Place Inc.  I spoke with Vanessa before her reading of "The Evelyn and Walter Haas, Jr. Fund Gallery" as part of the Guerilla Poetry series curated by MoMA's current poet laureate, Douglas Kinney.

Vanessa's pacing and typical page scattering as she read created another kind of map that MIMACHAN found compelling.  As Vanessa read and reformed a series of artworks whose only evidence of existence now lay in the pages of an historic catelogue , she unconsciously created a new choreography of lines drawn through the space of Gallery 4 - a conceptual sculpture evidenced now by this catalogue.  A photographic proof.

Read the full interview at Discordia: www.discordia.com.au
Find out more about Vanessa Place Inc. here: www.vanessaplace.biz

Thursday, July 18, 2013

Christmas in July


MIMACHAN had a small box of dusty studies and a sad heart.
She thought....Christmas. 

Christmas was always the punctuation point for "Happiness!" that she felt as a child.

The noisy Christmas lunch spilling around Grandma and Grandpa Evans' small dining room table, Grandpa Evans sweating under his Santa beard stolen from Grandma's sewing supplies.  Days on the beach with skies of ultramarine and purple with haze of eucalyptus.  Endless excavations of rock pools fascinated by  how the water made everything distorted but somehow so much clearer and radiant.

Radiance, MIMACHAN thought, is the privilege of having the eyes of a child.
She dusted off her studies and decorated a tree in the park.
Christmas in July.

The children noticed first.  
They thought the paper might be telescopes or binoculars.
MIMACHAN  thought- "What a great idea!  Why didn't I think of that?"


What are you looking at?
What can you see differently?





Monday, July 1, 2013

Clare and Scott

"Clare and Scott"
22 x 28" collage and ink on paper

How much can traditional portraits really tell you about people?

Designing the an alternate portrait of Scott and Clare based from artifacts in their memory box was a rewarding way to really get to know and celebrate these two wonderful people.

Taking old menus from Scott and Clare's favorite Restaurant Public, and weaving them into a "treasure map" I plotted some of the highlights of their adventure from their time in New York City.

Some highlights on the map are the 50th Anniversary wine list that holds the signatures of all of Clare's and Scott's friends from Public (see upper right corner,) the moment when they met at a movie theater (middle left) and the postcard on the bottom right from a good friend of theirs.  Scott always carries a bag of Skittles with him wherever he goes (ask if you run into him; he'll be happy to offer you some of the yellows).  His favorites are the red ones, so I've used them as markers to highlight their paths through the city.  The abhorred yellow Skittles can be found dropping from the fighter plane on the upper left that is trying to eradicate the evil sea monster below it. 

Each part of the map is a chapter in the story of Clare and Scott.  The spare parts of the composition were purposeful; after all, their story is not a complete one, and as it continues to unfold, they will be able to fill in the people, places and things that are most important to them.

Nothing defines us more accurately than our friends, families and actions.  MIMACHAN wants to help you celebrate your contribution to the world with a portrait that's as unique as you are.  Do you have a similar collection that you would like to have assembled into a custom portrait? Please contact MIMACHAN at collectnyc@gmail.com for more information.


Do you have a similar collection that you would like to have assembled into a custom portrait? Please contact MIMACHAN at collectnyc@gmail.com for more information.