Atlanta-based artist Lauri Stallings has fostered an
expanded practice that includes public choreographies, place building, green economy
and collaborations with many communities. Founder of the non-profit glo platform, Stallings is a 2016-17 MOCA GA Working Artist Fellow.
Stallings has exhibited and performed her work at Central Park in New York City; Art Basel Miami, South Beach;
National Center for Civil and Human Rights; High Museum of Art, Atlanta;
Howard Finster's Paradise Garden, Summerville; Trinity Laban, London; Atlanta Contemporary; Augsburg Opera Haus, Germany; Zuckerman Museum of Art; among others.
Stallings has received awards and grants from
Robert Rauschenberg Foundation, Creative Time,
American Academy of Arts, Possible Futures
Foundation, Bogliasco Foundation, Flux Projects (inaugural artist),
Chicago Music & Dance Alliance, Emory Center for Creativity
and Arts (inaugural artist), Atlanta Beltline Urban Development, and Artadia.
Stallings is a 2018 Hudgens Prize finalist, and makes all of her work at The Goat Farm Arts Center.
I am an artist who thrives in a collaborative laboratory of relationship building across issues, identities, and creative possibilities. I am obsessed with our perceptions of what we are when we are alone vs. what we are when we are together, and in my work, I try to reassess my views of what family is, offering other frequencies and mind spaces for us to communicate in. I do this by having dialogue with places and collaborating with neighbors,communities and art forms, then I transpose these conversations onto living bodies and into a precarious installation atmosphere and state. Drawing on what I've experienced as essential ingredients of family- adventure, complexity, nakedness, ritual and loss-I offer the public doors into alternate homes conceived as interior events and exterior eruptions, positive and negative, without opposing context. My intention is to offer a lens of the expanding, unfolding universe inside us, to find our explicit nature before being told what we think we are. I often hold a mirror up to the public to contemplate, “I know what this place is,” then I lunge deep into spontaneity, challenging people to think together, and this turns the work inside out. I choreograph highly physical tableaux vivants and movement choirs that inflate body motion to various contemplative states of mind, asking “What does it mean to be part of a community?” Place is a body form to me, I interpret how it’s postured in a community, what it feels, and like a breathing body, I suggest its every bend and curve has transformative powers. Through this endeavor for liberation I invite the public to become a collaborator, and family. I ask how far can we go together, in a world that oftentimes feels like it's wrestling us apart.