Brick; Brick Dust, 2022
Brick and brick-dust.Description
In my art-practice, bricks, both figuratively and materially, form the language of white supremacy. Perhaps also referencing the entry-point into understanding the make-up of a home, the brick becomes the site in which to understand this world (house, home) and the physical barrier preventing another’s emergence. Hoping to gain some kind of insight, I speed up the ruination process, and spend days hammering bricks. I am left with dust. We know dust to be fundamental in world-creation and thus, to re-world this world, I speculate returning to dust as a possible avenue for reclamation.
1
The Memory of a Map, 2021
Bronze, wood, and wood-stain.
Description
The figure is a bronzed re-envisioned route back home. The movement and markings are based
on walks I would take around my neighbourhood. It felt like one big performance piece – that no
one, but me, knew about. It evolved into a memorialisation of my map-makings - walking that was informed and determined by both the physical, and intangible structures that surround us.
on walks I would take around my neighbourhood. It felt like one big performance piece – that no
one, but me, knew about. It evolved into a memorialisation of my map-makings - walking that was informed and determined by both the physical, and intangible structures that surround us.
2
Party 4 U (experiments), 2024
Fabric (incl. satin), masking tape, nails, paint, permanent marker, and wood.DescriptionThe idea is mostly birthday tassels and decoration. Pinned up for far too long! Underdeveloped, but concerned with stage-setting - I wonder if the scene is about repair or stagnation? Mostly, its
‘Party 4 u’ on repeat.
3
Cube Sieve, 2023
Brick-dust, brick-rubble, chalk, charcoal, glue, nails, sieve-material, wax, and wood.
Transciptions
Side i :
There Was An Explosion, Or Rather, I Don’t Know A World In Which Explosions Do Not Occur.
Side ii :
Bricks Scatter And No Longer As They Once Did (Unlocated And In The Air).
Side iii :
In This World, Survivability Is Inherently Linked To One’s Proximity To Whiteness.
Side iv :
I Have Found Myself In A World Ruled By Ruins And As Such, I Have Found Myself Set To Ruin.
DescriptionThe ‘cube-sieve’, Holds Within It, Brick-bits. The Object, Reminiscent Of Some Kind Of Fortune
Telling Device, Once Shaken, Reveals Dust As The Answer.
There Was An Explosion, Or Rather, I Don’t Know A World In Which Explosions Do Not Occur.
Side ii :
Bricks Scatter And No Longer As They Once Did (Unlocated And In The Air).
Side iii :
In This World, Survivability Is Inherently Linked To One’s Proximity To Whiteness.
Side iv :
I Have Found Myself In A World Ruled By Ruins And As Such, I Have Found Myself Set To Ruin.
DescriptionThe ‘cube-sieve’, Holds Within It, Brick-bits. The Object, Reminiscent Of Some Kind Of Fortune
Telling Device, Once Shaken, Reveals Dust As The Answer.
4
House Candle, 2023
Pigment, string, and wax.DescriptionA piece made for the group show DE-NATURALISATION. A two-part wax sculpture including a rectangular bottom and waning-moon molded top. Wax is religiously informed; wax is memorial,
preservational, metaphysical; wax is water resistant.
5
Hand-sieve, 2022
Chalk, sieve-material, and wood.
Message and InteractionSieve experiments include. Chalk is used to write the text: A drier form of drowning with ‘+’, or 4 squares, on either side. An alternate shaking technique is introduced in the repositioning of how the sieve is held.
6
Translation on Wood, 2020
Paint, and wood.
Description
During a period of exploration into the familial dictionary. I couldn’t help but paint/write all the words and phrases that reminded me of home, that nestled me in this family space. Here we see the woodblock that once held these words/phrases. They are layered/covered, and peak through loosely, informing an entirely new language.
8
Flag (experiment ii), 2024
Chalk, masking tape, rip-stock material, and wood.DescriptionFlags form identifiers of human presence, power and control. They perform and represent entire dictionaries. They echo borders, speaking to both, orientation and direction. My initial interest was born of their usage in times of war, as objects that can set the scene of a world at war, but particularly in their ability to act as understood messenger with the message of ceasefire/surrender. ‘+’, as in, cross, grid, right-here, resides in the same linguistic scene as the brick/the map.