Feminine Protection & International Orange
Someone recently pointed out to me how similar Stephanie Syjuco's new project International Orange is to my project Feminine Protection of 1997. I was asked if she knew the work and how I felt about what in their eyes was so blatantly "copied" - and was I offended. This of course made me giggle given that much of the conceptual framework in Stephanie's work is based on "copying" and questions of "intellectual or aesthetic property." So NO, I wasn't offended ... and yes, she knew the work - or at least she did fifteen years ago when we were both students at SFAI ... but what I really thought was - 1) Damn! I wish I would have known how to use that graphics program then to do the layout for the installation - so much cleaner and crisper than the gouache drawings I did; and 2) how nice it was that someone remembered Feminine Protection since it was 15 years ago!!! ... but I love that work can resurrect in the most unexpected ways.
Stephanie Syjuco, International Orange, Seventy-six pages of colorblocked text and images from an original 1937 publication for the opening ceremony of the Golden Gate Bridge.
Megan Wilson, Feminine Protection, 1997, Diego Rivera Gallery, San Francisco Art Institute, 224 pages of email exchanges between myself and two lovers (one male, one female), using moleskin as an editing device to cover all identities and anything that made me feel vulnerable (quite unexpected as to what I did and did not cover).
Megan Wilson, gouache drawing for Feminine Protection, 1997, Diego Rivera Gallery, San Francisco Art Institute, 224 pages of email exchanges between myself and two lovers (one male, one female), using moleskin as an editing device to cover all identities and anything that made me feel vulnerable (quite unexpected as to what I did and did not cover).
Stephanie Syjuco, International Orange, Seventy-six pages of colorblocked text and images from an original 1937 publication for the opening ceremony of the Golden Gate Bridge.
Megan Wilson, Feminine Protection, 1997, Diego Rivera Gallery, San Francisco Art Institute, 224 pages of email exchanges between myself and two lovers (one male, one female), using moleskin as an editing device to cover all identities and anything that made me feel vulnerable (quite unexpected as to what I did and did not cover).
Stephanie Syjuco, International Orange, Seventy-six pages of colorblocked text and images from an original 1937 publication for the opening ceremony of the Golden Gate Bridge.
Megan Wilson, announcement for Feminine Protection, 1997, Diego Rivera Gallery, San Francisco Art Institute.