Video Work
.
.
.
Cloud Language (Sorry Cloud)
clouds give permission because freedom is clarified by resistance do
animals give us permission to use them as signifiers i requested permission
once if i am applesauce, i can see all the apples around me,
like a hawk, with authority i am a compassionate surveillance camera who is
fully regarding every apple i am a police man i am a picture of ice cream, desired
boys like me because i am a retractable poem they must perform nun dramas for my
devotion and it would benefit the apple city if more boys were determined to be soft
like applesauce yet metaphors have no more substance than clouds what would the
future say to the past
say sorry
Sorry, Cloud
.
.
.
.
.
.
.
.
.
.
.
.
.
Suspicious Objects
Observe someone as they fall out of a chair
she was depressed
by knowing we understand
by understanding we are depressed
Notice the lamp
He is a good candidate for the Peace Lily Award
Suspicious objects are usually the most quiet
and suspicious objects are glimmering
like dessert with consequences
Satin
Set aside and pulverized by General Lamp and his soldiers
See the Peace Lily
Don't feel bad about dessert
And by knowing we understand
by understanding we are another kind of Lily
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
.
Through understanding an electric, open shape, marked by objects or bodies, we can begin to refresh our perception that is conditioned by the convenience of superficial ways of being.
Something made of clay, as opposed to pixels, resists conforming to such flat and legible constraints. When a ceramic object becomes charged by psychical, physical, historical or imaginary means, it may crystallize only if we are able to read between these means, not getting hung up on the hierarchies of context. An image of mud remediated onto a flat screen is an apt contradiction. It presents itself as an enigma in an age over-saturated with supposedly definitive information. Our language regarding such complex subjects must be flexible, but not at the expense of practical meaning.
I decisively choose the medium of poetry as a testimony to the intent and intensity of reading. This method is especially relevant now, in its attempt to slow down the acceleration of information. My charged objects, videos, and writing obstruct the ease of peripheral understanding and form an aggressive and hopeful statement about the essential tension in materiality.
Common forms are increasingly flattened, displaced and neglected through the ubiquity of the internet and its effects on perception. Harsh news becomes lifted onto the same plane as the status update of a fictional cat. But when difficult forms, such as ceramic poems, are reduced into a generic language, the open shape of the poem is essential in avoiding reduction.
How will the qualities of language, both necessary and ineffable, thrive in the future, if not carefully represented in our archives of validated information? However explicitly defiant or subtle, my work evades screens and resists legibility through being both amorphous thoughts and concrete forms. An interruption in space, for instance, a sculpture, possesses a magical life we can only conceptualize through an inexhaustible, nuanced vocabulary of impossible depth.
.
.
.
.
.
.
 |
