An inter-media project that combines video projection with live performance as well as incorporating theatrical lighting and time-based construction. VHS 1/2". Purpose: To articulate roles and stages of gender-based identity by the constant and ubiquitous construction and deconstruction of Daises from which to pontificate. Comment: This work utilizes a video projected image of me constructing a Dais as I, in turn, deconstruct the Dais, live, in a more sculptural sense. "I've been looking at the word 'hubris' again lately. I think John Boehme's piece is interesting in terms of the word hubris. (Here I insert my own version of the narrative): 'I build my own stage, with scrap lumber and an apple box. This implies I must also have something to say, but I have nothing to say. I'm waiting for my Olympic medal, but it doesn't come. I must take apart the stage I have built.' This is hubris and pathos, touching on the Beckettian." - Lori Weidenhammer.
John G. Boehme MFA, University of Victoria, BFA Emily Carr University, Diploma Camosun College. Weaned in the Windansea of La Jolla, California, John G. Boehme’s early art practice included painting, sculpture, performance video, and digital technology, installation, and photography. Boehme describes recent work as "trans-disciplinary" often employing performance, video, audio, and objects in a number of pieces simultaneously, Boehme is not constrained to any particular creative mode and therefore utilizes integrated approaches to realize the work. John continues to have exhibitions, screenings, and participate in Performance Art festivals across Canada, Australia, the Americas, United Kingdom, Europe and China. John is continuing faculty in the Visual Arts Department at Camosun College and adjunct faculty at University of Victoria. Artist Statement: What interests me as an artist is the ongoing reformulation of a set of key interests. These interests are drawn from my observations of some of Western society’s less considered compulsions. Looking into the performance of gender, specifically masculinity, the valorization of labour, the pursuit of leisure, and the marshalling of amity, I explore language and paralanguage, that is, both the spoken and gestural aspects of human communication. Live artwork presents a direct relationship with material, with action and process, with human interaction. As I understand it, physical involvement is the most embodied way in which to create meaning. Through durational works both the artist and the audience gain access to the experience uniquely available through such commitment. This is of course the archetypal modality of ‘performance art’, an experience that unfolds through an extended period of time. Nothing can replace that learning, that specific duration of being. But although there is no alternative to the durational aspect of performance per se, I remain interested in the question of representation of performance, the very clear and obvious problem of making the ephemeral available to a larger audience at a different time. Using video to 'reconstruct' an event makes publication and discourse possible. Despite its material concerns, I believe that art is rendered ultimately in the social domain. With regard to multi-disciplinary works, I prefer the alternative term 'trans-disciplinary', as it refers to integration between media, as opposed to, say, a sequential use of different forms. For instance, I employ performance, video, audio, and objects simultaneously in a number of my pieces. I am not constrained to any particular mode; rather, I utilize integrated approaches within my practice.