Monday, November 04, 2019
"Where Is Here" Museum of the African Diaspora.
An interview about "Little Gestures" 2017
Where Is Here, curated by Jacqueline Francis and Kathy Zarur, evokes the real and conceptual space through which we travel. The exhibition presents the works of contemporary artists who are developing personal and engaged visual and musical systems to claim, make, and describe space. The imagery is both straightforward and poetic.
New Level Head(s)
Rising Waters Confab
Rauschenberg Residency: April-May 2016
People(s) afloat or on the move.
New communities?
Social relations formed by rising water levels globally.
New social relations formed by common practices and predicaments.
In my past work I thought often about the difference between being displaced and being dispersed.
I come from the rest of the Hemisphere or planet. We have always been on the move between owned spaces or territories. What has been our response?
Transgressing or crossing borders.
I have always drawn these submerged heads. They refer to a condition - to a state of being - of suspension, on the move, between territories, be it cultures, nations and other social constructs.
About being and not being in “history”?
Maybe this (dis)respectful and investigative distance, or divestment in place, is old and simultaneously new – a way of living/being in perpetual uncertainty about owning or
having to own.
CAPTIVA / 2016
Rauschenberg Residency: April-May 2016
People(s) afloat or on the move.
New communities?
Social relations formed by rising water levels globally.
New social relations formed by common practices and predicaments.
In my past work I thought often about the difference between being displaced and being dispersed.
I come from the rest of the Hemisphere or planet. We have always been on the move between owned spaces or territories. What has been our response?
Transgressing or crossing borders.
I have always drawn these submerged heads. They refer to a condition - to a state of being - of suspension, on the move, between territories, be it cultures, nations and other social constructs.
About being and not being in “history”?
Maybe this (dis)respectful and investigative distance, or divestment in place, is old and simultaneously new – a way of living/being in perpetual uncertainty about owning or
having to own.
CAPTIVA / 2016
Installation version from RELATIONAL UNDERCURRENTS: CONTEMPORARY ART OF THE CARIBBEAN ARCHIPELAGO SEPT. 16, 2017
Subscribe to:
Posts (Atom)