Container Cycle 3 (2020) is made from hundreds of pieces of paper cut from the artist’s old silkscreen prints. The infinity sign/ouroboros of interlocking plastic containers was inspired by the scientist who discovered how to visually represent benzene, a component of plastics, while supposedly daydreaming of the mythical snake eating its own tail. The images reference Gulf Coast industry and storm recovery as well as medieval European, Mayan, and Buddhist depictions of time and the cosmos. The first iteration of this animation was used in the installation Ouroboros (for Kekulé) at Lawndale Art Center in 2019 (see Installations page) and is mentioned in the forthcoming book Plastic: An Autobiography by Allison Cobb.
Lyrics and music by Julia Barbosa Landois and Erik Sanden. From the album Live Ballast, to be released in Summer 2021.
“Landois’ argument with God is a digital-age extension of a distinguished literary tradition with satiric barbs as pointed as Mark Twain’s in Letters from the Earth.”
DAN GODDARD, SAN ANTONIO CURRENT
Star-Crossed II (2013) employs a ranchera love song, Se Me Hizo Fácil, to narrate a woman’s break-up with Jesus. The Spanish lyrics scroll behind her as she sings, accompanied by her own voice on a loop pedal. Halfway through the performance, the English subtitles radically diverge from the lyrics to reflect her thoughts, both humorous and haunting, on a dying romance. The first incarnation of this piece was a live performance at the McNay Art Museum in 2012 for He Said/She Said, curated by Chris Davila, and the video was later featured in the 2013 Texas Biennial.
Don’t Explain (2015) combines visuals inspired by sacred statuary with an a cappella soundtrack of 20th century jazz standards sung in monastic harmonies. Lyrics of the songs “Don’t Explain” (1946) and “Guilty” (1931) are used in this context to convey the conflicted emotions that come with carrying a child, and the relationship between motherhood, sexuality, and bodily integrity. Words of longing and guilt counter and complement the protagonist’s unflinching gaze toward the viewer and the heavens. This video is formatted to be shown in a vertical orientation, either by projection or on a wall monitor turned sideways.