Connie Noyes
Heaven's Directives to Help Save Souls, Install for Chicago's 12 Exhibition Detail 1, Heaven's directives to Help Save Souls Detail 2, Heaven's directives to Hep Save Souls le désordre des choses If you can't hide it, decorate it with GOLD.  Elephant Parts
Collaborative Consumption Detail: Collective Consumption Installation shot: Pink Space and Elephant Parts

Blanc Gallery
Chicago, IL
November 2011 - February 2012 Detail: Elephant Parts PINKSpace: In It PINK|SPACE PINKSpace:Tar TAR PINKSpace:Sound Pink Space: Sound
DETAIL PINKSpace:Potential Pink Space: Potential
DETAIL PINKSpace :Form Fitting Pink Space: Form Fitting
DETAIL PINKSpace:Retrieve Installation shot of Delicacies and Touch Me

Blanc Gallery
Chicago, IL
November 2011 - February 2012 Delicacies reflection Touch Me Requiem for Vanilla A FLUSH CREPT OVER HER FACE SHE LOVED TO DANCE, BUT IT WAS FORBIDDEN Multiple piles of correctness as time runs out. Multiple Piles of Correctness as Time Runs Out,  No. 2 Multiples of Correctness as Time Runs Out, No.3 Multiple Piles of Correctness as Time Runs Out, No. 7 The Bride Never Wore White: 
Cross Section of the brain post dissolution.
The bride never wore white. Cross section:  Bride Doll
CURRENT WORK
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STATEMENT:

My current work PINKSpace functions as a metaphor for my” pinkish” physical body and the space I occupy. It is the color attributed to my “female” gender and can evoke heightened sexuality, innocence or saccharine sweetness. I also use it as a metaphor for the human race. Pink is the color of the internal body - muscle and organs unconcerned with external racial characteristics. Pink embodies human connection.


Though often unconscious, these associations, as well as many others to this single color, are part of my culture and represent coalitions of personal, yet complex, physical, perceptual and psychological experiences. The gathering of materials is a primary means for investigating these connections in my work. The materials I use at one point might have been utilitarian, were never considered beautiful and are now considered trash. The trash I collect is the skeleton of the work and the catalyst for inquiry into the connection of the personal metaphor to larger concepts of social consciousness. At the moment, the act of turning detritus into “works of art”, or elevating the prestige of garbage calls into question the status quo of beauty, worthiness and usability.
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