ALEXANDRIA PEMBLETON
info@alexandriapembleton.com
 







Mating in the modern world
(Commodifying human nature and
desire)
in process


I am exploring ways in which we look to
meet romantic partners in contemporary
times.   Examining ideas of dating (online
etc.), celebrity, the marketing, branding
and objectification of self that have
become part of modern dating culture.  
How does our status impact our desirability
and how do we transcend accepted fields
of status and power created by existing in
a  meritocracy based on economics?  

alipembleton.com
 


Part II Sycophant?
I want to love you well.
2006

I wrote love letters to everyone involved in
a show in which I participated, including
the curators, staff of the gallery, board
members, viewers and fellow artists.
 


I want to love you well.
2005, 2006, ongoing


I wrote love letters to everyone I love and
have loved in my life.  I sent them to their
addressees and then borrowed them,
placed them on a table in a gallery and
invited viewers to read them.
 


Love Letters in the street
2005


I sat at a table in the street and invited people
to join me.  I spent time speaking with them,
taking notes about their responses and then I
wrote each a love letter.
  "Relational Art is a set of artistic practices which take as their theoretical and
practical point of departure the whole of human relations and their social
context, rather than an independent and private space."

Nicolas Bourriaud, Relational Aesthetics
 
 


Material World
2006


I was in a show at Alliance Francais (San
Francisco) and wrote letters to the French,
the viewer and the curator who included me
in the show.
 
Gingerbread Gallery
2005
I collaborated with 3 other artists to create a
gingerbread gallery that was an exact replica
created using the plans to expand the luggage
store gallery in San Francisco.  The
gingerbread gallery was part of a fundraising
auction at the luggage store to raise money to
implement the plans and had a show inside of
the collaborators work in miniature.  
 
Subversive Allegiance
Collaborative Nestings
2004, 2005, 2006, ongoing
I nest projects in other artist locations (referencing the lending
of credibility), I try to create a space wherein visitors are
engaged in a direct way and make choices that lead to
objects, in this way they become both collectors and
collaborators in a project. I place t-shirts I’ve dyed on benches
or the ground along with images by artists who are part of the
particular show where I’ve located myself, I also use images by
emerging artists, people I know. Participants choose a shirt,
any and as many images as they want printed on their shirt,
and then mark a diagram of a t-shirt on a bag so that I know
which images they want and where on the shirt they want the
image.  I take all of the bags with t-shirts, images, diagrams
and addresses of the participants and make each shirt as the
participant indicated and then I send them to everyone who
participated.  
 

Knitting Project
2004
I sat at a table in the street; the table was
covered in different yarns.  I invited people to
choose as many as 4 of the yarns and place
them in a bag, then they would check a box
next to either hat, scarf or ruffled scarf, write
their name and address on the bag, and I knit
and sent whichever they had requested made
with the yarns they chose.
 



Celebrity
Gifts, obligation and propositions
2004, 2005, 2006, ongoing


I make specific gifts for people with some fame
and send or deliver the gifts to them.
 


Artstars
2004, 2005, 2006, ongoing

I make gifts for famous artists referencing
some aspect of their work, I like to place myself
in the work.