Some process shots. So, my parents' dinner table is functioning as my new studio while I'm away in Texas. Not too shabby.
The viewer is the sun. The painting is the sundial:
To create an art that breaks down boundaries between the disciplines, an art which in turn becomes a metaphor for opening up thought, perception, and experience.
An art that is inclusive, rather than exclusive; that is expansive, whole, human, multidimensional.
An art that cleanses the senses, that offers insight, feeling, magic. That allows the public to perhaps see familiar things in a new, fresh way - that gives them the possibility of feeling more alive.
An art that seeks to reestablish the unity existing in music, theater, and dance - the wholeness that is found in cultures where performing arts practice is considered a spiritual discipline with healing and transformative power.
An art that reaches toward emotion we have no words for, that we barely remember - an art that affirms the world of feeling in a time and society where feelings are in danger of being eliminated.
(There are no borderlines. There is only love.)
Figurations are performative images that can be inhabited. Verbal or visual, figurations can be condensed maps or contestable worlds. All language... is figurative, that is, made of tropes, constituted by bumps that make us swerve from literal-mindedness. I emphasize figuration to make explicit and inescapable the tropic quality of all material-semiotic processes, especially in technoscience.
In a conversation with Thyrza Nichols Goodeve, Haraway returns repeatedly to her use of figuration, and to the tropic - to the folding of the figural and the literal, 'the join between materiality and semiosis' or the ways in which the 'literal and the figurative, the factual and the narrative, the scientific and religious and the literary, are all imploded'...
(There are no borderlines.)
Where are the borderlines?
All liberty is laced with borderlines.