Dominique Moody’s “The Nomad” examines the house and history in Frieze La – Essence

In Los Angeles a city known for the consistently evolving landscape and layered cultural narratives, the artist Dominique Moody He enlivened intimate and community work. Nomad, a mobile apartment with an area of ​​150 square feet fabricated from recovered materials and found objects, stood each a private portrait and a press release regarding displacement, housing uncertainty and African diaspora.

Nomad, presented as a part of Frieze Projects ”, a specific number of works of public art organized by the Art Production Fund, was installed with Destination Crenshaw, an ambitious cultural corridor and the celebration of black history and artistic perfection along the 1.3-month episode of South Los Angeles. For Moody, it is feasible to create her creation in Frieze She was perfectly adapted to her long -term involvement in ensuring her work as many individuals as possible.

The desire for Moody’s availability just isn’t a coincidence-her belief that art should cause a conversation in communities, especially those often excluded from high-class art and industrial gallery. “Usually, when I show the nomad, all my desire is available and free for the audience,” she said. “Having this element, which can be in a public space, in which people who are unable to afford a frieze ticket still see, appreciate and celebrate art.”

The structure serves as a ship for stories, experience and immunity. For the first time it was fabricated from a pattern that Moody drew from her continuous journey, and each the desire to look for brand spanking new places, but additionally social, economic and racial displacement. This tension between the voluntary and forced movement shaped not only Moody’s life, but her creative practice.

“I’ve always had to come up with:” Well, how can I solve this challenge, each the desired and social interference? ” – she explained. “And in this pattern, which I often moved, and if I move often, I still needed to create and play home space.”

The have to re -arise was moreover complicated by its diagnosis of progressive lack of sight, a challenge that Moody forced Moody to take into consideration how he could proceed the artist. “I started losing my sight,” she said. “Both as an artist and only a black woman in America, WOW, how the challenge is to deal with. Can I do this amazing visionary work in the light of being [given] Visual impairment? “The change in her view led Moody to the Congregation, a medium rooted in contact, memory and found objects – a natural extension of her history and African -American cultural traditions. Moody also stated that this method was a superb response to each her art and its changing economic reality.

However, Moody’s eyes didn’t hinder her creativity – this increased her. “I had to learn a very basic thing that my eyesight and vision are not the same,” said Honree Project Seen & Heard 2017. “The view is a mechanical tool and we definitely have it, but this tool can be changed. What the artist has is and regardless of the state of the tool, the vision always exists. “

For Moody, the ability of a singular movable unit to look in unexpected places – whether in institutions, events or now in frieze – is a component of its power. “It did all this,” she said. “I went to museums and street festivals. I was a mobile resident and I was in Joshua Tree and New Orleans. I was placed on the campus of the school shipyard, university campus, museum park – all those spaces in which no one would usually expect a home. “

Nomad, like Moody’s own journey, is consistently developing. He invites those that meet him to take into consideration the importance of the house, community and immunity. And due to its layered practice – where the memory transforms into beauty – she still reveals invisible stories embedded in the world around it.