ºWanuri’s question “what would you travel to more than your own safety?” relating to many things including border politics, relationships, different types of safety being physical or psychological ºjoy as a radical place
ºhopefulness, especially in times of struggle, *is* a struggle and requires diligence
Answers to a few questions posed about my studio practice, and some images of process:
- What materials do you use and why? How do you present or materialize your work?
- ºIn general I sculpt in concrete, metal, and sometimes paper, silk, and other materials. I also work in many time-based media including sound composition, video, choreographic explorations of movement and performance.
- What does your process look like?
- ºMy process varies wildly depending upon the work I am doing. This summer my process involves exploring one piece from several different media---- it was originally a performance captured on video, that I am now mining for stills to print on silk, and pulling out moments of video to project. My process is usually a lot more physical and material but right now involves a lot of digital editing as well. The project is called Life Saving and Water Safety, and I posted stills on my most recent blog entry (right below this one).
- What concepts are you currently exploring?
- I am currently exploring ways of looking at communication, intimacy, and the dynamics of support as expressed in physical gestures of holding. This concept began with a book by the same name, Life Saving and Water Safety published in the 1950s, about techniques to save swimmers needing assitance in various open water scenarios. I found the images of this book to be unusually beautiful and moving and somehow seemed like little slices of a potential love story, complete with tension, uncertainty, and moments of freedom and assurance. I wanted to explore the found images in layered ways by recreating them in performance, and interating that into videos and onto fabrics, to see what that looked and felt like.
Lucky enough to have not one but two studio visits this weekend with the brilliant, bold, and downright true heart Morgan Bassichis. Please look up his work if you haven’t already seen it-- he is an important voice on many things including ///(in my words)//// collectivity, queerness, and political and personal landcapes of oppression/action/suppression/possibility.
While holding all that, his performances are completely hilarious, sometimes alternating cutting observation and raw tenderness, above all with an ease he uniquely creates. He came to School of the Art Institute of Chicago, gave a performance, and studio visits, all which left me flying with grateful considerations of//////////
ºhumor in nuance
ºhumor as vehicle to be with crises/trauma in new important ways ºblending practices/ navigating spaces/responses/different backgrounds ºinviting/allowing pleasure into an art practice, as a guide for performance ºdivorcing the idea of pleasing everyone/ this is impossible to work with/know
ºsimplicity/ silliness/ impulse
ºbreathing life into dead texts
ºcollective reading/singing as spells
ºstaying close to source material, asking back to it for answers
I have begun a new project recently: working title is
Life Saving and Water Safety I printed out some stills from the project, large scale on transparent bond which is all new to me (working with photos, this scale, this paper). I tacked them up ‘round my studio and now I feel like I live there, which is lovely. I originally imagined the project as multi-channel video projections and/or performance. I might still work it through these iterations to see what it should become. More on all of this soon.
I took this footage just before I left Atlanta to start the semester///// Special thanks to two of my absolute favorite performers and humans
Jake Krakovsky and Hez Stalcup