Gesture I & Touch (2024)
Video installation, sketchbook
Listen to the Artist Discuss her research and relationship to Red Amaranth
V2 Audio, unedited, duration: 3:35 (needs to be recorded; I sound winded)
V1 Audio, unedited, duration: 5:10
Note: I am unsure yet about how to install this, I don’t think it should be playing in the space, but something more private. I don’t see it as an piece itself, but a deepening or extension of the body of work.
Shrouded Seeds (2024) (Note: I plan on painting the pedestal white)
Red Amaranth seeds from the artist’s garden, three-layer silkscreen print on recycled French paper
3” x 4” each
[The seeds] sit there in the ashes of things and their kin that have been burned to death, and they have to figure out a way to come back to life. Vivien Sansour, Founder of the Palestinian Heirloom Seed Project, spoking recently—in the midst of her people experiencing genocide—about the irony of how Palestinians preserve their seeds in ash.
You are invited to bring a seed packet with you. In exchange, please donate, any amount, directly to the World Central Kitchen, the Palestinian Children’s Relief Fund, Doctors Without Borders, or another organization supporting children and families in Gaza.
22″ x 28″
amaranth, pokeweed & indigo ink, watercolor, acrylic ink
22″ x 43″
monoprint, amaranth and indigo ink, watercolor, acrylic ink, thread
“Untitled/Shroud #5″ 84″ x 30” amaranth and pokeweed ink, watercolor, acrylic ink, monotypes, thread
“Untitled/Shroud #4” monotypes, thread
“Untitled” 22″ x 30″ monoprint
Left: Untitled, (January, 2024) 30″ x 66″ Natural Inks: Amaranth, Pokeweed, & Walnut, with artificial watercolor and acrylic pigments, on Arches watercolor paper
Right: Untitled, (February, 2024) 30″ x 66″ Natural Inks: Amaranth & Pokeweed, with artificial watercolor and acrylic pigments, on Arches watercolor paper
Untitled, (February, 2024) 30″ x 66″ Natural Inks: Amaranth & Pokeweed, with artificial watercolor and acrylic pigments, on Arches watercolor paper
Untitled, (January, 2024) 30″ x 66″ Natural Inks: Amaranth, Pokeweed, & Walnut, with artificial watercolor and acrylic pigments, on Arches watercolor paper
Studio Shot (Feb 2024)
Untitled, (February 17, 2024) 30″ x 22″ Natural Inks: Amaranth, with artificial watercolor and acrylic pigments, on Arches watercolor paper
Body Bags, (Feb 2024) Amaranth Ink on watercolor paper, 9″ x 12″ each
Body Bag, (Feb 2024) Amaranth Ink on watercolor paper, 9″ x 12″
Body Bags II, (Feb 2024) Amaranth Ink on watercolor paper, 22″ x 30″
Detail from Body Bags I, Amaranth and pokeweed Ink on watercolor paper, 22″ x 30″
still from video performance (summer 2023)
still from video performance (summer 2023)
documentation photo from monoprinting process (August 2022)
Untitled (Feb 2024), watercolor on Arches watercolor paper, 9″ x 12″
Untitled (Feb 2024), watercolor on Arches watercolor paper, 9″ x 12″
Untitled (Feb 2024), Amaranth Ink on Arches watercolor paper, 9″ x 12″
Self Portrait in-progress, (August, 2023 to present) amaranth and pokeweed ink on amaranth dyed watercolor paper, 10″ x 11″
“Self-Inflicted Anesthetization” | 36″ x 90″ | Pokeweed and Amaranth Ink on drawing paper
Text Reads:
“A mad woman taken from her husband and children. Of course she was mad, or she would not have given her grief words in that public place. Her keepers were along. What she said was rational enough, pathetic, at times heart-rending. It excited me so I quietly took opium. It enables me to retain every particle of mind or sense or brains I have, and so quiets my nerves that I can calmly reason and take rational view of things otherwise maddening.”
Mary Boykin Chesnut, from her Civil War Diaries
Inquiry: How might this piece become sculptural, rolled up on a drum, to be moved easily across a colonial desk? And how might it become a performance? And documentation of meditative act?
Older Work thinking about the same idea—
“Dismantling” (2022) | Photographs, 13″ x 19″ each
How do white people undo generations of anesthetizing ourselves? Of turning away when something is uncomfortable? I am the link between my ancestors and descendents and I aim to create a new legacy for my kids. Using my baby bib as a symbol of the desensitization that past generations have placed onto me, I have dismantled it, taking it apart thread by thread.