She Copied Me
A video performance created at Sim Residency in Iceland
Performance,Camcorder footage, 2 Paintings
My sister and I hiked through Eldfell, we moved until we found a non-descriptive area to paint a landscape for each other on a piece of glass. The exercise was to paint one another into the landscape utilizing the same method. We wanted to show the differences between us. Even after we verbalized a strict methodology, we wielded different results.
As your body moves through a landscape that you trace, you may realize your perception always changes. As I tried and tried again to paint my sister, she moved within the landscape, holding a camera, and as a result instead of drawing one of her, I drew multiples of her. This could show us that a human being can not grasp a landscape within a painting or reproduction, or even comprehend a body in totality by drawing a linear landscape, or taking a photograph simultaneously.
“Identity and resemblance would then be no more than inevitable illusions.”
Gilles Deleuze, Difference and Repetition
Mapping Entropy 2021
Utilizing a rope, I tracked my location and trail while walking in Iceland. We display life’s movement, and inherently it's chaos, unpredictability, and entropy by existing. Through carrying a rope and repeating these patterns of mapping, we also display the behaviors that we submit to illogically and the randomness of our day and night. After using a straight line of rope, we may come across that the rope becomes entangled, circular, patterned, and goes nowhere, yet is a paradox as it becomes part of a greater landscape. This could show us that our movements have ramifications, are disorderly even if perceived as organized, and we should not forget the intangible.
This project resulted in altered landscapes and documentation.
Today the most important things want to remain invisible. Love is invisible. War is invisible.
Walk With Me
Dada Post, Berlin, August- October 23 2020
During the times of political unrest and coronavirus, Lara Orawski and I tied ourselves together and took a photograph in the photoautomat, we then walked across from East Berlin to West Berlin. After walking together, we documented the remaining rope prints after we untied ourselves in a different photoautomat. We had to balance off of each other, and fit through doors for the time we walked around the city. The rope I used to tie us together was knotted very tightly, to show an intense and secure bond to re-present making something we were experiencing that’s non-physical, and bringing it into the physical plane. I like to think of the photoautomat’s in Berlin as points which document an individuals map, while also documenting a group of people during its existence.
These photographs were installed at the end of an artist residency at Dada Post Berlin, the photographs are 146cm x 120cm.
Leave A Little Crevasse
This film is 6 different exercises that encompass filling crevasses of the human body and its surroundings. It is an expedition of the complex and fragile ways in which we share our bodies and habitats with others in times of crisis and political unrest. How are we filling the empty spaces we find in the deep chasms of the earth, and the metaphorical chasms we have within our thoughts and between us? We could find that creating deeper connections based on equality with our surroundings and other humans we can have a wider understanding of the roles we can play in forgetting the intangible and our perception of nothingness. How do we relate to the things we cannot see and how do we forget the unexplored? How do we find ourselves relating to our own breath and the air?
