Today we’d like to introduce you to Angelica Reisch.
Angelica, we’d love to hear your story and how you got to where you are today both personally and as an artist.
I don’t come from a very typical family. I was raised by a large family of visual artists, filmmakers, photographers, musicians, and designers. So, artistic practice and creative thinking was something that was always present and encouraged in my day-to-day life. From a young age, I was always making something: little stop-motion love-story films featuring my orange Chuck Taylor sneakers, sewn books for my friends, paintings, drawings, etc. That interest in creating led to pursuing studying art in college and I gradually became more focused into video and installation work. I graduated this past May with a BFA in Studio Art from SMU Meadows School of the Arts.
We’d love to hear more about your art. What do you do you do and why and what do you hope others will take away from your work?
My work is primarily based in video, installation, art publishing and cultural organizing. In my installation work, I am interested in investigating notions of the body, monumentality, public place, memory, and historical narratives as they relate to social systems. Specific questions I’m investigating include: who gets to occupy public space? How do we read the body externally and internally in the spaces we occupy? Who gets to write the historical narrative of the collective memory?
I’m also incredibly excited to be a founding member of DADE Collective along with my co-founders Diana Antohe, Ellen Smith, and DS Chapman. We are about to publish the second edition of Holding Pattern, an all-female art publication that serves as a platform for artists and writers underrepresented by mainstream art spaces and art discourse. The publication has grown hugely since the first edition from including work from 13 artists to now featuring work from 22 local, regional, and international artists as well as 6 commissioned essays and criticism focused on the writer’s artistic practices and the holding patterns that exist therein. We are currently planning an exhibition of the work featured in the publication.
Have things improved for artists? What should cities do to empower artists?
Areas that could use improvement in Dallas: we need more funding for DIY, smaller-scale artist run projects. We need donors who are willing to take a risk on individual artists and small organizations to really foster the arts on a local, accessible level rather than just large institutions (although those are an important piece of the arts ecosystem as well).
Dallas is a wonderful place for collaboration: artists helping artists and supporting each other locally with shows, equipment, etc. The sense of community here is really strong; There are some very hardworking, kind-hearted people here. This past spring, with the Texas Vignette Fair, I had a 20’x20’ hanging installation with four projectors — it was a beast to install, but a group of artists that I had only met that day stayed up all night until 6 a.m. to help get my work up before the opening. Moments like that where artists are looking out for other artists are so important.
Do you have any events or exhibitions coming up? Where would one go to see more of your work? How can people support you and your artwork?
You can see my work online at www.angelicareisch.com. You’ll be able to support Holding Pattern and female artists and writers by ordering a copy of the publication online soon at www.dadecollective.com
- Website: www.angelicareisch.com
- Phone: (214) 842-0557
- Email: firstname.lastname@example.org
- Instagram: angie_reisch
- Facebook: https://www.facebook.com/angie.reisch
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