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Hopefully, this work I have made in Venice will help to generate more large-scale work. I am now back to zero financially and trying really hard not to be nervous about it. And I’ve raised $10,000 through private donors. The majority of the money paid to the European Cultural Commission ($50,000) came from the corporate jobs I completed in 20. Who underwrites the cost?Ī: Part of the reason for the exorbitant cost is because I cannot physically do the work on my own, so I have five assistants helping me in Venice. Q: You budgeted $130,000 to participate in the Biennale. Every single corner, the food, the people, the wine.are all so breathtakingly beautiful. But the reality of this city has exceeded my expectations and imagination. If my story and my work can encourage them to persevere in spite of the challenges in their lives, I think that’s the most I could hope for.Ī: One of the reasons I decided to participate in this exhibition, apart from the prestige it confers on artists, was because I’ve always wanted to see Venice. But the more I thought about it, I realized it wasn’t about me - it was about them.
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When I first got out of the hospital, I kept hearing what a source of inspiration I was for people. I want people to know that you can come back from a catastrophic, tragic thing in your life and still continue to live as you were before. Q: If you could leave one imprint in Venice, as a direct result of a visitor spending time in “Letterale,” what would it be? We’ve also built a ramp into the piece so people, ideally, can go into it if they’re in a wheelchair. And I have been literally crawling in my Airbnb. I have wonderful artists assisting me - dragging my wheelchair over all of the bridges. It’s a nod to overcoming my struggles.especially in this city because Venice is not ADA (The Americans with Disabilities Act) compliant by any means. It’s a literal self-portrait of who I am as a person and an artist. On the ceiling of the booth are the hand-painted strings. It’s a free-standing booth, almost like a phone booth with flames at the bottom, a projection onto the floor of a car crash. When Jason Peters, one of my assistants in Venice, first saw “Letterale” (Italian for “literal”) realized in New York, he said it was poignant because it mirrored my experience of rising out of the ashes to keep building work.Ī: This self-portrait is so very literal. There was a charred element - ash and what looked like burning coal - which emulated how my body had been charred, broken, chopped to bits and put back together. The first piece was “Trial By Fire” at MINT Gallery in 2019.a self-portrait that people could walk into. Initially, I was annoyed by the suggestion, but eventually decided to rip that Band-Aid off and do something. I felt that incorporating myself into my work created a limitation for people - who deserved to experience the art in a very personal way.Īfter the accident, so many people said they couldn’t wait to see how it would influence my work. Have immersive pieces like “Letterale” changed your mindset and/or facilitated healing in the wake of the car accident?Ī: When I first started making work, it was not supposed to be about me at all. Q: Your parabolic string installations have a celestial, otherworldly quality that evokes a feeling of infinite possibilities. Mosholder reflected on her role as a cultural ambassador and remembered the muse who inspired her transcendence over tragedy. She and Sirlin are exhibiting together, under the umbrella title Borders of Light and Water. It came as no surprise to anyone familiar with the complex webs she has woven - from Woodruff Park to Sydney, Australia, to Atlanta’s Atlantic Yards, where her most recent commission for Microsoft will be unveiled at the end of May.ĪrtsATL caught up by phone with the hard-working artist in Venice, where she was installing her piece “Letterale” at Palazzo Bembo. Last year she was invited to present at the European Cultural Centre’s Personal Structures exhibit coinciding with the Venice Biennale. But then, I decided I had two choices: I could either stay in that bed and rot, or I could get back up top and go to work.”īy any measure, her journey since then has been charmed. “It felt like a double whammy because I was dying and nobody thought I was going to make it. “Initially, learning about Justin’s death depressed the hell out of me and I lost my drive,” she says. She also suffered the loss of her beloved friend and colleague Justin Rabideau, then-director of the Zuckerman Museum of Art, who died in October 2018.