All of us have heard the stories of scheduled executions in which the condemned did not die in an expeditious manner so additional measures had to be taken to complete the job. In art we talk about the act of creating a work of art as an “execution,” which might lead one to wonder what to expect from Heidi Schwegler in her “Botched Execution” at The Art Gym. What we do find is a well-represented set of mixed media and found object constructions Heidi Schwegler has made during the past 10 years. The title suggests a gallows humor, which comes through in a few of her works, while many other pieces in this show leave a mark —perhaps even a scar— on the viewer.
One of the first pieces one sees upon entering the gallery is Schwegler’s seven-piece photographic series, “My Struggle.” From left to right, we see a headshot of the artist as she is transformed from a slightly distressed state to someone soiled, bloodied, missing a tooth, and in extreme anguish. This portrait of progressive (self)destruction reminds me of people I see on a daily basis at the rural convenience store near my home. There’s the tweakers, their wild gestures an exhibition of self-assurance from inside raging, scabbed heads. Less frequently, and considerably more subdued and cleaned up, are the victims of chronic domestic abuse. If Schwegler intends to portray the state of mind for either, or merely suggest that her individual struggle with some other issue is equally dark, this is a humorless piece indeed. It is only by imagining that she did not actually knock her left lateral incisor out we are allowed some distance.
Further relief for the viewer might be found in the nearby sculpture, “Passing Resemblance II.” Apart from the hands and head, which are silicon replicas of Schwegler’s own in a 1:1 scale, the overall size of this piece is that of large doll. I usually would be disinclined to speak to Schwegler’s real-world small frame, for physical characteristics are often incidental at best to an artist’s output; however, she seems to be using her physique to emphasize the hands and head as a priority for an artist.
It’s a smart piece, and judging from the number of phone photos taken at the opening reception, “Passing Resemblance II” was the popular centerpiece of the exhibit. Quite often I caught three or four people standing around the doll, eyes fixed on it as they conversed. It was not dissimilar to family gatherings in the living room in which the newest child is placed in the middle of the floor for assessment, and as distraction during lulls, even though there isn’t much about this piece that would make one engage in some coochy-coochy-coo.