The ink on rice paper drawings in my Thy Creature installation were glued directly onto the gallery walls to produce the Seymour Gallery installation.
When it came time to take the work down, my helpers and I used wet cloths to saturate the drawings to loosen the glue. Then we carefully peeled the drawings off the wall and let them dry on plastic sheets. We noticed that traces of some of the ink and rice paper remained on the walls when the drawings were removed.
I’m intrigued by the implied absence these traces suggest. I intend to include a number of these absent drawings the next time I install this work.
I’m missing documentation for a few of my installations, because the photos turned out so badly.
Perhaps this is a covert form of passive aggression towards my art practice. I offer the work within exhibitions, but make it difficult to view within documentation.
People have found it disturbing when they realize my work gets painted over (i.e. destroyed) following an installation. I find this possibility emancipatory. The images I produce are propositions, rather than declarations. I want to create representations that remain provisional by their very nature.
I’m reading The Posthuman by cultural theorist Rosi Braidotti, after being deeply moved by a talk she gave at UBC a few weeks ago. Braidotti exhorts us to move beyond our traditional humanist limitations and embrace the possibilities that arise if we imagine ourselves as becoming-other-than human.
The group show I’m participating in this month includes work by six artists that “utilizes repetition as a device to investigate ideas and themes.” This map represents the ways I consider repetition as a methodology within my practice.