Janet
Biggs
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BuSpar,
the title of Janet Biggs's latest video installation, is the name
of a prescription drug that is given to both humans and horses for
anxiety. Upon entering the darkened gallery space, the viewer is
confronted by three floor-to-ceiling projections depicting the image
of a seated woman rocking, flanked by two close-ups of galloping
horses, nostrils flaring, filmed from the neck up. Accompanying
the visuals is the sound of the horse's heavy breathing. This work
expands themes found in Biggs's earlier cinematic-like installations:
Water Training (1997), which debuted at Solomon Projects, and Girls
and Horses (1996), her first large-scale video installation.
The dramatic scale and intensity of BuSpar's images transform the
gallery, effectively creating a larger-than-life spectacle in which
the viewer enters and becomes part of the installation. At different
points in the work, the eyes of the rocking woman suddenly stare
out and penetrate our gaze. In this moment, we must ask ourselves,
"who is being exposed?" Biggs activates the role of the
viewer from spectator to performer to spectator. Her deliberate
use of imagery that is both arrestingly beautiful and unsettling
in its directness engages the viewer in a tumultuous push/pull of
emotional and psychological paradoxes: human anxiety and animal
release, fear and fortitude, attraction and repulsion. We are compelled
to discover the associations between the equine and human subjects.
Biggs studied painting and sculpture as an undergraduate at Moore
College of Art and Design in Philadelphia, and in graduate school
at the Rhode Island School of Design. Like many artists working
in the 1980's, she discovered the installation format to convey
her message. These early installations focused on the more difficult
aspects of childhood experience, exploring issues of insecurity,
powerlessness and confinement. As these ideas evolved, the conceptual
nature of her work shifted to involve the adult viewer. Themes examining
adult fantasy, sexuality and voyeurism became central to her work.
Biggs states that her switch to video was a "very conscious
choice," but that she "was not committed to video as a
medium." This comment speaks to the importance of content in
contemporary art and about video as a tool for artists to express
their ideas. BuSpar is testimony to the power and immediacy of video
imagery. |