Alexandra Cousins

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Sasha Alexandra Cousins is a disciple of the language of visual culture and of the impact of images to educate and communicate. She is a multi-disciplinary artist working engaged in the daily struggle of striving, fighting and fluctuating to survive. Since graduating from OCAD University her writing has been published in independent journals and visual work shown in a number of group exhibitions. As a fine art production and collection specialist, Sasha has held positions at the McMichael Canadian Art Collection and the Art Gallery of Ontario. On a freelance basis she offers art direction project management and photographic services for exhibitions and publications.

$4,800.00

Transparency print and lightbox.

24x36"

Limited edition 1 of 3.

Agathokakological Study is a series documenting the artists' first year of recovery after being struck by a motor vehicle, drawing upon historic Western photographic and sculptural traditions. Abstracting traditional body presentations in a confrontational manner leads to a surrealist examination in the duality of good and evil.
The process is an attempt to reconcile and embrace the resulting permanent disabilities, loss of identity and limitations of the flesh, while celebrating the body as a conduit for connection. It is the act of abstracting the human form that is the core of this documented performance work, capturing the body as a distortion of expectation; the contortions increasing as the artists' recovery progressed.
By absorbing, subverting and queering canonical Western sculptural poses the artist's body becomes a site for performance and intervention. A living sculpture, irreverently captured, pushed beyond its limitations.

Alexandra Cousins

$4,800.00

Transparency print and lightbox.

24x36x5"

Limited edition 1 of 3.

Agathakakological Study is a series documenting the artists' first year of recovery after being struck by a motor vehicle, drawing upon historic Western photographic and sculptural traditions. Abstracting traditional body presentations in a confrontational manner leads to a surrealist examination in the duality of good and evil.
The process is an attempt to reconcile and embrace the resulting permanent disabilities, loss of identity and limitations of the flesh, while celebrating the body as a conduit for connection. It is the act of abstracting the human form that is the core of this documented performance work, capturing the body as a distortion of expectation; the contortions increasing as the artists' recovery progressed.
By absorbing, subverting and queering canonical Western sculptural poses the artist's body becomes a site for performance and intervention. A living sculpture, irreverently captured, pushed beyond its limitations.

Alexandra Cousins