In the studio: Tuesday, July 3 2018 Over the weekend had the absolutely wonderful, *wonderful* opportunity of meeting and having a studio visit with Wanuri Kahiu, a brilliant and strong Kenyan filmmaker tackling difficult subjects with tenacity and j-o-y. Her work is extremely important and if you don’t know her I highly suggest you look up her incredible films, and listen to her talks, here.Some thoughts after her artist talk:
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.