Through mass-produced custom objects, print and video that function as markers of performance, performance that functions as sculpture and documentary, and an art practice enacted through the body of a doppelgänger named Lexie Mountain, Alexandra Macchi explores crossings, inversions and systems of representation.

Perceived as and projecting the identity of an artist, performer, writer, and comedian living in Baltimore, MD.

We are interested in connections and intersections, the materiality of digital media, and the concept of the real. Improvisation, intervention and experimentation inform our practice, enacting complex conjunctions where revisions of meaning can be made. Our interest in expansive, multiplicative narratives and reordered hierarchies often results in large scale works such as free music festivals favoring improvised and experimental practice, time-based performance sculpture, and public games. We are.

Future fields of research or investigation include Play as a branching medium, Forces of gentle chaos and appropriate destruction to reinvent energy use, Recombinant actions as a means of expanding possibility, Failure as opportunity, Positive embarrassment, Soft systems investigation.

She received her MFA from UMBC’s IMDA Program with a focus in video, performance and installation, and presently holds the Samuel Kress Foundation Interpretive Fellowship at the Walters Art Museum in Baltimore, Maryland. In 2014 she published her thesis “DEATH OR HIGHER RESOLUTION: AN EXPERIMENTAL TREATISE ON PROCESSES OF INVERSION IN ART HISTORY AND DIGITAL IMAGE-MAKING IN THE CONTEXTS OF WOMEN, LOBSTERS, AND THE VANITY OF THE TECHNOLOGICAL PRECIPICE.”  Find her thesis in pdf form here and view documentation of the accompanying exhibition here. One of her lectures about lobsters can be seen here while you’re at it.

She is influenced by William Pope.L, Lisa Suckdog, Erika Vogt, Deleuze and Guattari, Octavia Butler, Mickey Zacchili, Jamillah James, Linda Nochlin, Lisa Moren and Kathy O’Dell, Michael Farley and Whitney Biennial, Andrew J. Pekarik, Ric Royer, Bonnie Jones, Jana Hunter, Se Jong Cho, Jenn Wasner, Amy Harmon, Drew Daniel and Martin Schmidt, David Lee Roth, Playfair, Hilde Hein, John Berger and Grace Jones.

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Current projects

  • As a Samuel Kress Foundation Interpretive Fellow, researching new modes and methods in interpretive strategies for The Walters Art Museum.
  • With the assistance of a grant from the Awesome Foundation, working towards breaking the standing world record for Longest Game of Telephone for Baltimore, Maryland.
  • stand-up comedy night for female comedians named, alternately, Christopher Hitchens Memorial Comedy Night and Ice Cream Social or Vagina Havers.
  • A monthly column in Baltimore Citypaper called Hot Fudge Wednesdays.
  • Freelance writing practice.

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Possible Projects and/ or Intersections for Future Works

  • Concrete Cloth/ Canvas and other military performance fabrics
    • …and electron microscopy.
    • …for public sculpture, environmental sculpture, growth benches, bench infrastructure integrated into garden/ park spaces, domestic garden use.
  • Camouflage suits that bend light around the wearer, liquid latex, the spectrum of colors visible to the eyes of a Mantis Shrimp
  • Camera Obscura built into an underground train station. A camera Obscura public sculpture.
  • A sculpture that recreates the mirror-box structure of the inside of a lobster’s eye
  • Manifestation of the actual dreams of one hundred people, performed over the course of one month after being recorded and reported on one night during the year
  • A think tank comprised of the incarcerated and/or formerly incarcerated
  • Honeycomb housing
  • 3D printing with concrete, human ashes, gunpowder, bee pollen
  • Tape made out of wood composite (Duct Oak)
  • Spray concrete. Concrete in aerosol-type canister for small applications
  • Citywide icebreaker – large-scale winnerless game play
  • Object music: a device that bounces soundwaves off an object and transforms the resulting waves into music/ sound. Music could be playable remotely
  • Giant Foam: a structure large enough to be habitable, a sculpture created using the same principles that apply to the cellular creation of foam
  • Floating classrooms. Apartments that rise with sea levels. Houseboats on the Charles
  • Classrooms on aquatic vehicles
  • Business Larping
  • Exercise stations at bus stops
  • A class that meets at a different location every time it is convened. Location decided by students who deliver a presentation on possible intervention in that space. Intervention could be performative, teleological, technological, etc. Must be a public place.

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Questions

  1. How does the US Military’s use of Power Point reflect their strategic operations and vice versa
  2. How can disparate materials used for defense be used to support communities and empower the disenfranchised
  3. Performance fabrics for public use
  4. How can personalization and globalization occur simultaneously to the benefit of society
  5. How much more of an increase in visual definition is possible/ necessary. Just because something is possible, is it necessary? Can individualization of technological response benefit a greater whole?

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Of Conceptual Interest

    1. High definition, as an urge
    2. Internet-based synesthesia
    3. Homarus Americanus and realms of unknowing
    4. Failure as potential energy
    5. The representation of women in the canon of art history
    6. A Thousand Plateaus, Mickalene Thomas, a fully articulated ivory lobster
    7. Repetition, transformation, versioning as a means of ownership
    8. Pierre Huyghe’s Ibizan hound “Human”

CV

photo c. Kit Macchi

“The rhizome is altogether different, a map and not a tracing. Make a map, not a tracing. The orchid does not reproduce the tracing of the wasp; it forms a map with the wasp, in a rhizome. What distinguishes the map from the tracing is that it is entirely oriented toward an experimentation in contact with the real. The map does not reproduce the unconscious closed in upon itself; it constructs the unconscious.” — Deleuze & Guattari, A Thousand Plateaus