I think that art is above all a form of communication. As much as I derive great pleasure from the mere act of making, no work feels complete to me until I share it with someone else. For artists who utilize performance, that communication has the potential for deep levels of intimacy. Performance can include one’s voice and body and energy with a sense of immediacy not always available through other mediums, as well as extreme vulnerability.
Both Zachary Fabri and Michelle Isava use performance to communicate their personal experiences. Zachary’s work largely pulls from the Black experience in the U.S. while Michelle’s work explores her concerns a as a young Trinidadian woman. A lot of Michelle’s work is very raw and visceral as she places her body in various scenarios, combines herself with technological machines, lays her body on the ground and interacts with the landscape. Zachary inserts his body in spaces throughout various New York City communities in order to make political statements. Sitting on a street corner or running down the block with helium balloons tied to his knee-length locs, leading visitors through exercises in popular museum lobbies or pushing himself down the streets of Alphabet City in a milk crate on wheels.
Ironically or (aptly?), I had more communication problems trying to schedule interviews with these two artists than with any of the prior chapters. Whether it was travel or just the usual drama of life, it was a feat trying to find a moment when I could speak with Zachary and Michelle. However, when we were finally able to connect, both conversations were fruitful and informative. I was curious about the way that these artists consider communication with viewers throughout their creative processes. It was interesting to hear Michelle talk about the differences between performing in Trinidad, Venezuela and Germany. Of course the same gesture can communicate very differently in different cultures. Zachary spoke about the way that viewers of different races experience his work and the ways that affects his practice.
I continue to learn through this project that artists turn to performance when what they seek to communicate will not manifest through any other form. In grad school I learned that in order to be effective, art has to have the intention to communicate something specific, something beyond that pleasure of making. Both Zachary and Michelle have powerful intentions that they communicate very clearly through their work and I hope that I have been able to communicate that as clearly through this video.
About Michelle Isava:
Michelle Isava (born 1985) holds dual nationality from Trinidad & Tobago and Venezuela. She is a conceptual artist who straddles across different mediums and genres to place the priority on message and experience. She experiments with drawing, painting, installation and video because she believes the message should decide the mode of expression. Her interests lie in the body as an object, and what it has the potential to reveal or betray about the subject.
About Zachary Fabri:
Zachary Fabri was born in Miami, Florida in 1977. His mother is Jamaican and his father is Hungarian. In 2007, he received his Master of Fine Arts from Hunter College in combined media. His work mines the intersection of personal and political spaces, often responding to a specific environment or context. Zachary’s work has been exhibited at Sequences Real-time Festival, Reykjavik, Iceland; Nordic Biennale: Momentum, Moss, Norway; Gallery Open, Berlin; the Museum of Contemporary African Diasporan Art, New York; the Jersey City Museum, and El Museo del Barrio, New York, The Studio Museum in Harlem, and The Contemporary Arts Museum Houston. He is a recipient of the Franklin Furnace Fund for Performance Art in 2011 and was awarded a New York Foundation for the Arts Fellowship in interdisciplinary work in 2012. Recent solo exhibitions include Third Streaming in New York City and Real Art Ways, in Hartford, Connecticut. He lives and works in Brooklyn.