ray ferreira, drenched en lujuria: una phantasmagoria de pájaros y birds, 2018. Iridescent skin pedestal, iridescent skin acrylic, porcelain vase, computer speakers, projector, floral stickers (Wisteria floribunda, Oenothera odorata, Oenothera rosea, Mirabilis jalapa, Ipomoea alba, Nicotiana alata, Polianthus tuberosa), single-channel video with sound, 5 minutes, 12 seconds. Courtesy of the artist.
ray ferreira, drenched en lujuria: una phantasmagoria de pájaros y birds, 2018. Iridescent skin pedestal, iridescent skin acrylic, porcelain vase, computer speakers, projector, floral stickers (Wisteria floribunda, Oenothera odorata, Oenothera rosea, Mirabilis jalapa, Ipomoea alba, Nicotiana alata, Polianthus tuberosa), single-channel video with sound, 5 minutes, 12 seconds. Courtesy of the artist.
ray ferreira, drenched en lujuria: una phantasmagoria de pájaros y birds, 2018. Iridescent skin pedestal, iridescent skin acrylic, porcelain vase, computer speakers, projector, floral stickers (Wisteria floribunda, Oenothera odorata, Oenothera rosea, Mirabilis jalapa, Ipomoea alba, Nicotiana alata, Polianthus tuberosa), single-channel video with sound, 5 minutes, 12 seconds. Courtesy of the artist.
ray ferreira, drenched en lujuria: una phantasmagoria de pájaros y birds, 2018. Iridescent skin pedestal, iridescent skin acrylic, porcelain vase, computer speakers, projector, floral stickers (Wisteria floribunda, Oenothera odorata, Oenothera rosea, Mirabilis jalapa, Ipomoea alba, Nicotiana alata, Polianthus tuberosa), single-channel video with sound, 5 minutes, 12 seconds. Courtesy of the artist.
ray ferreira
I originally had this unfeasible project (lol material restrictions) that was supposed to be a memorial of sorts, that I've come to realize probably exists best in the either in some digital AR/VR space. However, when I found out I would be in the gallery beside the Neustadt collection (lol another form of material restriction called an opportunity for contextualization), I realized this was a chance to rethink my personal relationship to the Queens Museum.
I mean, all the things about light and iridescence and ornament and florals are very obvious connections, but also my introduction to the museum was through these same Tiffany lamps. Time is type funny - a spiral
A corny move: I had this long conversation with my mother (Angela Maria Genao Rodriguez-Ferreira) about pleasure and order and gardens, light, and color. These things are of course about power, and they have complicated relationships to colonialism and modernism; but they are also potential sites of perversion and subversion. She thinks I'm carryin.
Visibility: What does it mean to be using/showing/playing with my body when it has been rendered a. unimportant and invisible, and b. dangerous and hypervisible? What does it mean to live within our current surveillance happy white supremacist cishest patriarchal capitalist ableist world? <—All of which is to say that this is really about what productivity comes to matter. All of which becomes more interesting when operating within institutions that have an ontological base in these ordering systems.
What does Volumes mean to you and your work? What does Volumes mean to you and your work? Whenever I think of "volumes" you can also catch me thinking about the adjacency of the word "version".
Their not-so-related etymologies:
  ~volume~volvere->volumen-(to->a)roll
  ~version~vertere->versio-(to->a)turn
These are re:actions; returns through the cylindrical shape of a roll or the action of turning a body, a page<--a performative site.
Re:actions: suggesting some sort of re presentation
  - a volume sometimes being a representation of a mass on a picture plane, the loudness on a screen, and/or a measurement of space
  - a version being trans(formation|lation|figuration)
They are about seriality. They are about mappings across spacetimematterings. Rolling through the function turnt and messy.
ray ferreira (b. 1991, Corona, Queens) earned an MFA from CUNY Hunter College (2016), and a BA from SUNY Geneseo (durational performances). She has exhibited her work across New York at Longwood Art Gallery via El Museo (2018), Dixon Place and Space 776 (2016), and Amos Eno Gallery (2014). She has also performed at other New York sites like the Brooklyn Museum of Art, MoMA PS1, Panopoly Performance Lab, and Columbia University (2018), Friends and Lovers, The Knockdown Center, and Zinc Bar (2017), 315 Gallery and Dixon Place (2016) and LaMaMa (2015). In addition to exhibiting and performing work, ray has also screened work at the Queens Museum of Art and Video Revival (2017) and Immigrant Movement International (2016), and has been published in Signal to Noise (2018) and Femmescapes: Vol 2 (2017). ray has also been an artist-in-residence at the Institute for Electronic Arts (2017) and EmergeNYC (2015). She is also a Museum Educator at the Studio Museum in Harlem and a Lead Educator at the Octavia Project, a program that uses science fiction to encourage young women and nonbinary youth to dream big and feel empowered to build alternative futures. She was born in Corona, and raised between Corona and East Elmhurst, Queens.
Identity Library Live Milford Graves Mixing