Unhuman In-Home Outhouses
2019 - present
Statement for Coup of Hopelessness, part of this series:
Here is an idea in its drafty stage. Its questions swirl in concert: as the old guards lose their grips, what are the necessary moves? Were their grips too slick? Are the walls crumbling? Where are the joints stiff? What is the matter?
Here are some of my actions: parts of an old shower from my childhood house were gathered after its demolition and held onto, a cut of a document of a document of a beheading conducted by Ana Mendieta was further sliced, and a reckoning was–still is–taking place in me between (now) barren despair and some sensed, fecund unknown.
Here, in this case, I am listening for what Eileen Myles ten years ago called “chicken sounds”. My art practice is researched-based, and ten years ago Eileen stated: [a] researcher needs to shift to an animal platform where other sound systems have value and can be received. I am working to construct the technology needed to hear what this old woman said was an orchestra, kisses, an atmosphere.