Mixed media installation consisting of: black plastic sheeting, Dylan and Eric mannequins (pressure-treated wood, reclaimed wood, OSB, metal screws, metal nails), masks (printed cotton jersey, styrofoam heads) on plinths (assorted junk food, Elmer's glue), Snack Trough (OSB, wood, metal screws, assorted junk food, plastic sheeting, projector playing Columbine surveillance footage, speakers), Changing/Interrogation Booth (wood, OSB, black plastic sheeting, camera on tripod, bench made from reclaimed NYPD police barricade, crayon drawing on paper, string lights), Not Sorry by Kevin Dudley collection (four trench coats, two pairs of jeans, one pair of sweatpants, and one flak vest) hanging on rack (PVC pipe, PVC end caps, aluminum carabiners, steel chain), four bean bag chairs in 'Axe' and 'Spunk' printed fabric
Not Sorry was imagined as a capsule collection and installation inspired by the Columbine Massacre. Being too young to understand the media coverage first-hand, and preceding 9/11, I only experienced the tragedy as a lingering anxiety (I was a peer mediator in middle school; we were shown a documentary of the massacre presumably in the hopes that we would take our duties seriously) and, as a weirdo in high school, a dubious threat.
Visitors are allowed to participate in this trauma-by-proxy. Security camera footage from Columbine is shown from a stand with compartments containing a mix of junk food. They can sit on bean bag chairs with prints of dripped Axe body wash and semen. Contempraneous remixes of music from artists like Marilyn Manson and Drowing Pool reinforce the reoccurring spirit of teen angst and alienation. Finally, the collection allows the viewer to indulge their fantasies of ostracized teenagedom in the understanding that it might be outgrown, but possibly still present. Through this, perhaps violence as conditioning can be consumed and disposed of like clothing