My artistic practice centers on the remains of the American Civil War, in particular, the reenactments that surround it. I began reenacting the Civil War at age 12 as a mounted cavalry bugle boy. Like many who enter in the populist subculture of war reenactment, my participation grew from a childhood fascination with the gear, the action, and the inclusion in our Homeric epic.
Our Civil War is not over. We can see the unresolved issues far beyond the faux-battlefields. Yet they are made more visible through the gestures of reenactors, not only navigating the gender and racial roles within the politics of reenactment but the physical liveness of the war itself. The liveness is a recursive
I now participate in Civil War reenactments as the artist correspondent Winslow Homer. I immerse myself in the materiality of my own obsession by constructing period clothes, camping on the battlefield, and documenting the reenactment similar to Homer’s documentation of the authentic war. Through the mimetic act of embedding myself in the re-performance, I play through one of