Emma Hildebrandt

Short Artist Statement


Working across video, sound, painting, and performance, I seek to exploit our degree of awareness as bodies. I refrain from using the term people because this automatically comes with adages and personality. My focus is to understand our perception beyond these, and look to what we choose to understand in our embodied experiences. Aligning with this mode of sensing requires that I engage in meditative, performative, and durational actions. In being attentive over a period of time, I am able to gather information that sets the trajectory for how I work and the themes which I can concentrate on.


I make explicit and abstract implications to the body in my work. The body can call to a physical state not just by being present, though in the gesture or even a space which would call for the presence of a body. The mediums I work with behave similarly to our own fluxing as conscious beings. As a body can be in tune with a situation, a medium can be bossed around. In contrast, a medium can act on its own accord removed from the designated task. The drip, glitch, and indeterminacy of environment are points from which I delve into making.

Emma Hildebrandt

Long Artist Statement


My work investigates the degree of licensure we employ over our own consciousness. Be it a passive or hyperaware, I am fascinated by the state of flux we often find ourselves in. What drives us to initiate this change is not always certain, nor does it ask of us to have clear motives before acting. I engage in perception beyond optics and look to the most primary levels of comprehension we have as human beings. While a main mode of communication, verbal assertions only exists in reaction to our genuine and embodied experience. Much of how I work aligns with meditative, durational, and performative actions to connect with our shared physical experience.

I work across medium, often traveling through one to arrive at another, or even merging them. The body appears in my work not purely for symbolic purposes or not always in literal form. Rather, I present the body to facilitate an experience. As mentioned, this takes shape in literal depictions of a body as well as lived out gestures which offer an active and physical depiction. Perceptions of my environment are the foundation from which I work to establish personal totems and iconography. These originate in frequented spaces and my fascination with their ware, looking to the contrast between the manipulated and true natural state of place.


Working across mediums I reach deep into the exploitative nature of color, the limitations of software, and the impermanence of space to find that indeterminacy will remain constant. I see the Adobe suite as an expedited method of painting and construction, yet with the ability to expand upon time or diminish it. Painting allows me to establish my own analog system of effects with mediums which move it and manipulates our perception of time with something stationary. Movement allows these same concepts of gesture and color to be lived out physically with time being able to express a variety of relationships to the surrounding environment. of Much like us, material can directly mirror our own ability to change, prompting events without clarity in motive. Be it organic or by my own arbitration, this is the series of inevitable and imperfect phenomena that I consider to be performances, dancing between layers of consciousness.

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