Anna Bromley and Sandy Volz have been combining words with images in their joint projects since 2014. The focus of their dialogic deliberations is on questioning the standard attributions made to body-things.
Glamour Technicians (2018) looks at the Country singer Dolly Parton and her hyper-femininity. The star’s flamboyant self-stagingself-portrayal mixescombines uncomplicated lovablegentlestyles with sexualized femalefemme styles.stereotypes. Volz’ and Bromley’s collaboration succumbs to her glamorous looks and outfitsskin and shells.looks and outfits. This critical musician and queer icon of the Queer scene has been treading her own independent path since the 1960s as a producer not only of her own music but also of her own body. The artists’ serial visual and audio collages explore bodies and voices as tools of self-creation. In analogue processes of manual montage, Sandy Volz develops physical relief collages from online portraits of the musician and material from current fashion magazines. In correspondence with this approach, Anna Bromley edits two-minute tracks from Parton’s chattalk show interviews in the 1980s and 1990s and from fragments of her early songs. In the spatial compositionstructure of “Glamour Technicians”, sound collides withfaces image head-on.