Art, like love, is a sort of rupture in our subjective situations, something dis/reorienting that demands we move beyond previous conceptions of our selves and our worlds. Ted Hearne embodies this principle in his work, challenging notions of stable coherent identity and highlighting the gaps and contradictions between the worlds of the private and the public, the personal and the political, the inside and the outside.
Hearne says that what intrigued him about Dorothea Lasky’s poetry was that it articulated the tension between our imagined conceptions of ourselves and how we are recognized by others. These themes resonate with much of Hearne’s work. Hearne is drawn to setting his own identity as composer against the words of others, complicating questions of authorial intent — his 2014 oratorio The Source featured autotuned audience-embedded vocalists singing the transcripts of Chelsea Manning’s instant messages and the text of wikileaked government documents; the uncanny valley surrealism of the vocal filters kaleidoscopically reflecting the disorienting natures of both modern information warfare and gender dysphoria.
This new band Dorothea continues Hearne’s decentering of the self, , a collective aesthetic developed with musician Eliza Bagg and visual artist Rachel Perry, spotlighting the words of poet Dorothea Lasky. Dorothea as a collective project embodies the blurring of identities of Hearne champions, functioning as a creative assemblage which the artists’ individual aesthetics flow together to produce something unexpected, a new multiplicitous form of subjectivity that the artists lose themselves in. You are hereby invited to lose yourself in it, too.
On behalf of UCLA’s Center for the Art of Performance