Eileen Cubbage
(b. 1976) Philadelphia, PA
M.F.A. Maryland Institute College of Art, Hoffberger School of Painting
B.F.A. Syracuse University, School of Visual and Performing Arts, Illustration
(b. 1976) Philadelphia, PA
M.F.A. Maryland Institute College of Art, Hoffberger School of Painting
B.F.A. Syracuse University, School of Visual and Performing Arts, Illustration
Eileen Cubbage examines somatic and emotional residue through a performative and diaristic multidisciplinary new media practice. She has degrees from Maryland Institute College of Art and Syracuse University with residency attendance and group exhibitions at STOA Center for Body Art Studies in Sirence, Turkey, Unity Space, Greece, Virginia Center for the Creative Arts, Takt Kunstprojektraum Berlin, Delaware Center for Contemporary Arts, New York Studio School’s Drawing Marathon, Pyramid Atlantic Paper Studio, Hotbed Studios Philadelphia and FAVElab, Greece. With recognition from Sumasil Foundation for Women’s Advancement, New Insight Art Chicago and the Dedalus Foundation, Eileen has taught full-time at universities both in the US and Asia. She is currently traveling to research intersection of drawing with contemplative movement with an upcoming 2023 residency at Arthouse Pani in Tequisquiapan, Mexico.
Statement
My work recategorizes painting as temporal ‘performance’ by transforming drawing, painting and collage processes into time-based motion, sound and high-definition video projection installation loops. In a performance framework, the ‘mundane’ painting body is the central character, illustrating the main feature of Greek tragedy— a character brought to total destruction caused by their own actions. I destroy years of composited layers of canvas, grounds and frames; the raw remains are photographed and digitally manipulated by choice and chance. Analog and digital processes merge to construct moving slices of sentience, perceived realities and states of being.
Projected in looped time segments of attention spans and emotion durations, each extraction and expansion of a frame speaks to a momentary yet infinite slice of being. My methodology relies on the theory of open sculpture, where the primary aim is to create a piece in an “unreal” territory. There is metamorphosis in practice, process, object— the “real” is in flux as bodies search, center and mirror. One has a sense of heightened awareness to specificity yet elasticity of time and psychic space. Picture plane and screen act as a stage for spans and shifts in the collective body where form becomes field.