Chassis is a term used to describe the body or base frame of a machine or car, the underlying structural strength of a machine. It is also commonly used as a term for the body of a woman, often in an objectifying manner.
Consisting of new and existing sculptural works incorporating found footage, kinetic machinery, steel cages and obsolete cables, Chassis stirs up a vortex of overlapping concerns: the dissection and manipulation of human and animal bodies; the distance between resistance and complicity; the consumption of images under capitalism; escape routes; and rainbow lobsters.
Chassis, 2022 the eponymous kinetic sculpture in this show was also featured in 52 Artists: A Feminist Milestone at The Aldrich Contemporary Museum of Art, Ridgefield, CT June 6 - January 8, 2023
Consisting of new and existing sculptural works incorporating found footage, kinetic machinery, steel cages and obsolete cables, Chassis stirs up a vortex of overlapping concerns: the dissection and manipulation of human and animal bodies; the distance between resistance and complicity; the consumption of images under capitalism; escape routes; and rainbow lobsters.
Chassis, 2022 the eponymous kinetic sculpture in this show was also featured in 52 Artists: A Feminist Milestone at The Aldrich Contemporary Museum of Art, Ridgefield, CT June 6 - January 8, 2023
Seafood, 2019
Painted and nickel plated steel, wood, formica, ceramic, resin, acrylic, recycled HDPE and LDPE plastic bags
Liste Art Fair, Basel, Switzerland
Expanding Brain, 2018
Painted steel, plywood, formica, acrylic, glazed ceramic, resin, hardware
Solo Show, Southard Reid, London, UK
Titled for a meme made by the artist which anchored the exhibition, this show was a suite of discrete minimal sculptures which interrogated the self and expressed the pressures of conformity and categorization within the art world. In Artist Interview, 2018, exploring self and artistic identity, Cetera presents a confessional style artist interview taking equal inspiration from a recent BBC interview of a female assassin hired by President Duterte of the Philippines, and the 1981 film My Dinner with Andre, by Louis Malle. The subject, an autobiographical, yet fictional version of Cetera, physical and vocal characteristics obscured as if protecting her identity from the viewer, appears in a subtitled, single shot Q&A. The artist responds and reflects on her position towards and within an environment where artists, specifically of colour, are expected to perform their identity, race and gender, finding themselves in trap-like predicaments regarding content. The conversation ebbs and flows between a stream of consciousness monologue and a boilerplate questionnaire to which artists are expected to conform.