In this performance at the Andrea Rosen Gallery in New York, Donegan uses her body as an art-making tool, and toys with identity politics as well: She forms shamrocks on paper by squatting in green paint.
Armed with a paint-filled squeeze bottle around her waist, Donegan targets the art historical myth of male creative prowess.
Donegan sits behind a pane of glass. She places a clear cellophane hood over her head and paints the cellophane "face" a vivid orange. She then presses and rubs the painted mask against the pane, smearing it with color and obscuring the view of her face through the glass. When she exits, she leaves behind a remnant of the mask, a literal "face painting."
Description
In Clarity, Donegan sits behind a pane of glass. She places a clear cellophane hood over her head and paints the cellophane "face" a vivid orange. She then presses and rubs the painted mask against the pane, smearing it with color and obscuring the view of her face through the glass. When she exits, she leaves behind a remnant of the mask, a literal "face painting." In Kiss My Royal Irish Ass (K.M.R.I.A.), a performance at the Andrea Rosen Gallery in New York, Donegan uses her body as an art-making tool, and toys with identity politics as well: She forms shamrocks on paper by squatting in green paint. Armed with a paint-filled squeeze bottle around her waist, in Sunflower Donegan targets the art historical myth of male creative prowess.
