“My practice involves many ways of working and includes both individual projects and crowd-sourced, collaborative projects. Very rarely does it include the fabrication of objects (painting, sculpture, drawing, etc.). I strive for my artistic projects to be in the service of consciousness-raising, though each project seems to approach that with different strategies. My work is based in social media, performance, video, digital media, social interaction, happenings, and the construction of platforms that allow for other artists and community members to come together to discuss or create something collaboratively. I am interested in pedagogy, epistemology, evolutionary biology, social media, collectivity, and affect theory. I am also interested in the role of the body in society, and some of the themes that I most frequently explore are: gender equity, freedom of speech, contemporary feminism, data visualization, the integration of art and technology and art and social media, the durational capacities of the body, the relationship between body, mind, and knowledge. I sometimes use humor in my work as a means of disarming the audience and inviting them in to an empathic state of experiencing and receiving the information that is before them. I also frequently use historical imagery or paradigms as reference or source material in projects that seek to visualize alternative histories – and futures – for female creators. I think of myself as a metaphoric paperclip, bringing people, resources, and opportunities together to facilitate the creation of new and positive knowledge and experience.
I have a socially integrative, interdisciplinary practice that includes performance, installation, photography, and video. My body is my medium and site of discourse. I am interested in the social, cultural, and historical constructions of identity, particularly within the role and image of the female body in the wake of modernism and second wave feminism. I use art history, social games, folklore, mythology, everyday actions, memes, and humor to destabilize expectations and stereotypes of gender.
My current bodies of work address how ideas of essentialist feminism and central core imagery might open new dialogues in contemporary art. These ideas have been historically rejected by Post-structuralists as being anti-intellectual. In a post 9-11 world that is still heavily informed by patriarchal and capitalist notions of power, I hope that by returning to these artistic strategies that explore collaboration, empathy, and consciousness-raising, I can offer an alternative conversation about the roles of identity and subjectivity in cultural production.
My own body, history, and socialized identity frequently become the topic of the work, though I hope that there is also the potential for an allegorical association with and for the viewer. My recent photographs have aimed to use art history, humor and intimate body imagery to explore how the female body can create positions and images of empowerment. I have also sought to do performances that encourage greater cultural awareness, increased empathy and generosity, and the valuing of an experience rather than an object or relic. My performances and videos often involve participants as they address how social interactions contribute to our sense of self and subjectivity. I am interested in the ways in which art can facilitate interpersonal relationships, community building, gender equity, and curiosity about how and why we are the way we are.” – Micol Hebron
The Fordistas Movement by South Florida Ford has helped shape South Florida’s arts and culture scene for years. What started on the streets of Miami as a platform for homegrown talent evolved to represent a broader sense of community and purpose. The title ‘Fordista’ no longer represents only the artists themselves. It represents you, the people. The writers, artists, sports fans, philanthropists and supporters that make our community possible. We Are Fordistas.