Henry Witecki

Henry Witecki is a visual artist and writer whose practice involves the unpacking of phenomena from a state of fixity. Under the belief that there is no always already present quality of something to be wholly understood, Witecki reflects upon the vast number of perspectives and spaces from/in which people live in the world, as well as the complex formation of those individual perspectives.
Being cannot be measured and then reduced, that is, one truth as we seek it cannot be quantified such that it accounts for the various ways people use their bodies and the ‘things’ in the spaces they inhabit. When we perceive anything, it is at that moment that it comes into its present state of being, in that the qualities or characteristics you are sensing did not always already exist before you sensed them. They are conditioned by your perceiving them, and you are altered or conditioned by having sensed them in addition to everything else you have perceived to that point. It is through this always-occurring process of re-inscribing beings and phenomena in the world that they come into discourse, or what one might call the coalescence of a multiplicity of incompatible truths.
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About Henry Witecki’s Thesis Project


Henry Witecki

Suddenly Another Me Is Dead: The Art of Tyler, the Creator

This project presents a strategy for reading and understanding the video and performance work of the popular culture icon Tyler, the Creator. Drawing from Judith Butler’s theory of performing identity, José Esteban Muñoz’s work on disidentification, Slavoj Žižek’s notion of subjectivity, Avital Ronell’s ruminations on stupidity, and more, it argues against existing popular interpretations of Tyler’s artistic production. Rather than embodying one character or archetype, as many popular hip-hop artists do, Tyler empties and then refills his core subjectivity with a plethora of drastically different stereotypes and archetypes. Furthermore, rather than fully embracing these roles, he combines strategies of mockery, reverence, and disidentification in the crafting of some very dense media. In doing this he resists the process of projecting a generalized identity onto people we recognize as other. Beneath its controversial surface, Tyler’s work executes a discerning cultural critique.

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