In the video a car is driving and the headlights illuminate the only area of the scene where we can see something. In one of the clips a voice says, “I don’t know what this is” and we see Chloe in the area where the light is, and she’s holding something.
In the video, Chloe keeps running at whoever is filming and then they always put the car in reverse.
In 2013, Chloe made a functional sculpture of a six foot tall standing guillotine that was built to chop homemade eclairs in half. Most of the artist’s efforts were spent perfecting the airiness of her choux pastry and the lightness of the crème pâtissière. The guillotine did work though, and it later hit me hard on the head when we were joking around with it (the blade luckily had been removed).
A similar sculpture of a garage door is featured in this exhibition. It is similar in that it is an object that operates functionally, periodically rolling up and down, although in this work, the utility of the action performed reveals no immediate value or use. The door itself is transparent, concealing nothing, and only partially separates the space. Like commedia masks, the door is a roughly hewn caricature of a common form, whose slavishness and willful self-debasement illuminate its only chance under the stars for happiness.
A recent message sent by the artist:
Chloe Seibert is a living and working artist. Recent exhibitions include Night Gallery, Los Angeles; Atlanta Contemporary, Atlanta; Balice Hertling, Paris; COOPER COLE, Toronto; and Efrain Lopez, Chicago.