artist, writer, educator, and curator
O’Brien is engaging the intersections between body and environment, and interrogating the ways in which artificial borders have marked a demarcation between the two. There is no way to conceive of the sick body, the trans body, the body that defies borders, the racialized body, without understanding that these states of being exist in direct opposition to the constructed environment and are the bodies most urgently impacted by environment collapse. We use the same extractive practices to pillage the Earth for resources that we use to take emotional resources (and, in many cases, life itself) away from people of color, queer people, immigrants and women. In both cases, we are unconcerned with sustainability and the offering of any system of replenishment.
He considers both the body as landscape, and the landscape as a human body. In the midst of a moment when gender is in revolution, race politics are being interrogated and resisted against, where bodies are seen as sites of controversy, they are also deeply linked to the environment that holds them. How can we expand our definition of the environment to imply the humans in it? What does a water crisis in Flint have to do with Blackness, a pipeline going through North Dakota with Indigenous rights, a river revitalization project with the poor Brown community getting gentrified out, the Olympic Village with the lives of Trans women? The answer is, everything. By examining which voices are left out of traditions of environmental art, his work spotlights the connections between the collapse of the environment and its direct relationship to the marginalization of voices, thus entering the environmental art space and allowing for its exploration from the inside out.
With O’Brien’s archival project “Mapping A Genocide,” he attempts to develop a theoretical bridge between environmental and social justice. This body of work interrogates historical movements in the archive, binary systems, and bodies that fall outside what is socially constructed as productive and viable. It also considers colonialism and capitalism as two pillars of social and environmental collapse. The bodies who do not produce under capitalism are rendered invisible and ultimately disposable. These are the bodies whose deaths and disappearances are erased from history and washed away from local archives. I believe this project demonstrates that my strength is seeing environmental art from a new perspective, one that looks at the histories of its practice, appreciating their impact and looking to engage future generations in a more critical, intersectional approach, both technically and theoretically.
“Tracing Trauma”, a project that holds space for the way trauma traces upon the body, upon O’Brien’s own body. Using sculptures and photos, he creates an index of the trauma that is both positive and negative. It does not insist on a presence; it insists an absence. Just like for a photograph a negative must first be made to get a positive. The glove is an index for the trauma. O’Brien creates traces of a medical glove and then, through the casting process, marks the fading of this trace. It is possible to hold open a space between the index and its object by acknowledging the index as a species of sign, and so, inevitably caught up in a network of signs that you can’t see yourself out of. The index harbors a fullness, an excessiveness of detail that is always supplemental to meaning or intention.The skin in these images can be read as a landscape and the glove a subject/object. The photographs are literal investigations, and places of formality that exists as a means to erase the traces of trauma through nurture.
As a multimedia artist working interdisciplinarily between video, photography, found images, installation and writing, he focuses on queer strategies of survival in end times, the nuance of gendered construction, the body as landscape for survival, death, grief and trauma.