Conceptual artist working in photography, performative experiences and social practice.
Brooklyn, United States
Ventiko is a critically acclaimed conceptual artist working in photography, performative experiences and social practice. Her work focuses on the (re)construction of moments not in time but in thought to express social positions on sexuality, persona and the state of the modern woman. Ventiko’s works have been exhibited and experienced internationally including at the Korean International Art Fair (Seoul, Korea), Sluice London, Busan (Seoul, Korea), Photo L.A., UNTLD BCN (Barcelona, SP), Select Art Fair (Miami and NYC), Satellite Art Fair (Miami), Coohaus (Chelsea, NY), Shirin Gallery (Chelsea, NY), Casa Quien (Santo Domingo, DR), Performatorio (Puerto Plata, Cabarete, DR), Project for Empty Space, (NJ), M.O.M.A. (NY), TATE Modern (London, UK) among others. She has been featured in Interview Magazine, Quiet Lunch, Korea Monthly Photo, Hyperallergic, The New York Times, Bedford and Bowery, Vulture, Emergency Index, Cool Hunting, Gothamist, Artist News, Posture Magazine, T Magazine, Frieze Magazine, The Creator’s Project, The L Magazine, Artnet News, Beautiful Decay and Vogue Italia. As a community builder she has worked with over 200+ Artists creating, curating and facilitating happenings, exhibitions, lectures and residencies on their behalf through her creations Animamus Art Salon and Performance Anxiety. She discusses life with many of these artists on Animamus Audio Hour available on itunes
My practice is an amalgamation of constructed photographic narratives and public interventions that ultimately speak to the idea of identity, or performing identity. Throughout my relationship with the photographic image, I’ve been creating an ever-expanding visual language expressing my social positions from sexualtiy to the general, persona and the state of the “Modern Woman”. Symbolism from Antiquity through the Baroque epoch and classical Biblical imagery is combined with the obscene to examine moralistic duality while juxtaposing the traditional with the contemporary, uprooting and exposing binaries within the human condition and displaying them to the viewer in deliberately confrontational gestures. Rather than wait for the ‘perfect moment’ I deliberately construct a scene that is not situated in a state of time; but rather, in a state of mind. Images are not those which are found by waiting for the perfect moment, instead they are the construction of a moment, not in time but in thought. Like the photographic side of my practice, my work in performance and public interventions questions different performances of identity. My ongoing performance piece, Sylva Dean and Me, places mask-clad performers in intricately constructed and bound wearable sculptures, which I have created from recycled nursery school milk cartons, into public spaces. Stripped of explicit identity, Sylva Dean and Me acts as a palimpsest upon which to redraw the illness of humanity and the stark beauty accompanying it. To explore and occupy a liminal space; between performance art, sculpture, Butoh, theater, installation, and now Opera, Sylva Dean and Me explores gender performativity and the continuous, ever evolving relationship with otherness.