2008
Part of the reason why I chose to group the work under the title, Digital Dancing Queen, was because it all seemed very much like what I imagined Abba to be, as a child, and Dancing Queen was the first song I can remember that led me to fantasizing about another reality.
And then there's this flying pig.
This project is called Digital Dancing Queen, although many of its parts have different names, or played different roles in my

I was thinking a lot about creating a physical space, characters and objects that didn't really replicate the many incarnations of my website, but actually was of it.

Nothing is placed arbitrarily.

I love cables and wires, and I think it's funny and unnerving to combine warm, cute things with the mechanical and cold. Everything looks hand-made. I'm not hiding anything that way. I'm letting you in on the secret, revealing the connections.

Nothing is arbitrary in how I choose to organize the scene, however the objects and characters sort of are. That's why I use and integrate found objects.

I like the idea of demons and angels that come in ridiculous forms.

Here we see a family of sheep that are about to drop their lamb into the arms of a sort of rabbit-princess. It's for the lamb's own good, but it's also a very sad scene.

We have a cluster of angels watching over them, so we feel better about it.

 

work around this time. (These images have hot spots on them so you can click for more details.)

I thought it would be funny to take a white rabbit, make it a blonde and create a doorway between her legs and hang a doorbell from her nose.

The sad frog meditates with Scrooge McDuck's magic dime in his mouth.

I used these elements in a performance titled, Time Capture Archive, about a flawed, heart-broken, time-traveling anthropologist.

 

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The characters in my work are often depicted in pairs. One helps the other from another liminal space.

I think in this case it mirrored how the website mirrored the landscape I had made.