By looking at Swoon’s accomplishments over the last fifteen years it is hard not to be in awe at the diverse, eclectic and poignant nature of her artistic practices. Though most well-known for her wheat paste portraitures, Swoon has shown an ingenuity when it comes to installations, perhaps most expertly demonstrated by the Swimming Cities of Switchback Sea, an ambitious project which saw Swoon and other artists create flotillas made entirely of recycled and reclaimed materials. These were then navigated down the Mississippi River, across the Hudson and even more daringly from Slovenia to Venice along the Adriatic Sea (landing at Venice during the opening of the Biennale). The brilliance of these flotillas lay in their blurring of the boundary between art and life, ‘intentional communities’ which acted as experiments in sustainable living and communitarianism.
Since them, equally impressive projects have followed suit; a community centre and hurricane shelter was constructed in Haiti; as well as a musical house in New Orleans. What is evident that besides the ethical imperative so concurrent in Swoon’s work, her work is driven by a desire to create an art form that, ‘participated in the world, that sought context within our daily lives, and that was not dependent solely upon art institutions’.
Swoon had a solo show at the Brooklyn Museum of Art in 2014 and has had two solo shows at New York’s legendary Deitch Projects.