This series of images reflects on trace and residual embodiments that articulate themselves through abstract sculptural forms. I am interested in thinking of form and the photograph of the form, as matter, that collectively signify knowable objects/subjects/embodiment and simultaneously require scrutiny to make sense of what is possible. In this series of images, Pigeon mesh—a material literally used to keep pigeons from nesting on patios—gives itself to the nature and shape of organic embodiment and resistance to such embodiment. I draw on the use of negative and positive space, depicted through black sculptural forms against white walls, to form a stark contrast.

This series of images reflects on trace and residual embodiments that articulate themselves through abstract sculptural forms. I am interested in thinking of form and the photograph of the form, as matter, that collectively signify knowable objects/subjects/embodiment and simultaneously require scrutiny to make sense of what is possible. In this series of images, Pigeon mesh—a material literally used to keep pigeons from nesting on patios—gives itself to the nature and shape of organic embodiment and resistance to such embodiment. I draw on the use of negative and positive space, depicted through black sculptural forms against white walls, to form a stark contrast.

 Redaction and the posit of space (2017)

Redaction and the posit of space (2017)

 Suspension against a white wall (2017)

Suspension against a white wall (2017)

 At the corners of the impossible (2017)

At the corners of the impossible (2017)

  Untitled. (2017) Installation View. B&W Photographic Print, Projection, and Bird Netting.     This installation was produced during my time at the Feminist Art Conference Residency, in Toronto, Ontario, May 12-26th.  Untitled  (2017) uses three collective modalities—photographic print, bird netting, and projection—to contemplate the meanings of blackness, the violence of movement, and the ruse of perception. Each modality works in tandem to present an ongoing process of becoming through the cycles of deconstruction and reconstruction that are layered on top of each other.

Untitled. (2017) Installation View. B&W Photographic Print, Projection, and Bird Netting.

This installation was produced during my time at the Feminist Art Conference Residency, in Toronto, Ontario, May 12-26th. Untitled (2017) uses three collective modalities—photographic print, bird netting, and projection—to contemplate the meanings of blackness, the violence of movement, and the ruse of perception. Each modality works in tandem to present an ongoing process of becoming through the cycles of deconstruction and reconstruction that are layered on top of each other.

 Untitled. Installation View. B&W Photographic Print, Projection, Bird Netting (2017)      

Untitled. Installation View. B&W Photographic Print, Projection, Bird Netting (2017)

 

 

 Untitled. Installation Detail. Photographic Print, Projection, Bird Netting (2017)

Untitled. Installation Detail. Photographic Print, Projection, Bird Netting (2017)

 Untitled. Installation Detail. Photographic Print, Projection, Bird Netting (2017)

Untitled. Installation Detail. Photographic Print, Projection, Bird Netting (2017)

 Other Inclinations, 2017 installation 

Other Inclinations, 2017 installation 

 Other Inclinations, 2017, installation

Other Inclinations, 2017, installation

 This series of images reflects on trace and residual embodiments that articulate themselves through abstract sculptural forms. I am interested in thinking of form and the photograph of the form, as matter, that collectively signify knowable objects/subjects/embodiment and simultaneously require scrutiny to make sense of what is possible. In this series of images, Pigeon mesh—a material literally used to keep pigeons from nesting on patios—gives itself to the nature and shape of organic embodiment and resistance to such embodiment. I draw on the use of negative and positive space, depicted through black sculptural forms against white walls, to form a stark contrast.
 Redaction and the posit of space (2017)
 Suspension against a white wall (2017)
 At the corners of the impossible (2017)
  Untitled. (2017) Installation View. B&W Photographic Print, Projection, and Bird Netting.     This installation was produced during my time at the Feminist Art Conference Residency, in Toronto, Ontario, May 12-26th.  Untitled  (2017) uses three collective modalities—photographic print, bird netting, and projection—to contemplate the meanings of blackness, the violence of movement, and the ruse of perception. Each modality works in tandem to present an ongoing process of becoming through the cycles of deconstruction and reconstruction that are layered on top of each other.
 Untitled. Installation View. B&W Photographic Print, Projection, Bird Netting (2017)      
 Untitled. Installation Detail. Photographic Print, Projection, Bird Netting (2017)
 Untitled. Installation Detail. Photographic Print, Projection, Bird Netting (2017)
 Other Inclinations, 2017 installation 
 Other Inclinations, 2017, installation

This series of images reflects on trace and residual embodiments that articulate themselves through abstract sculptural forms. I am interested in thinking of form and the photograph of the form, as matter, that collectively signify knowable objects/subjects/embodiment and simultaneously require scrutiny to make sense of what is possible. In this series of images, Pigeon mesh—a material literally used to keep pigeons from nesting on patios—gives itself to the nature and shape of organic embodiment and resistance to such embodiment. I draw on the use of negative and positive space, depicted through black sculptural forms against white walls, to form a stark contrast.

Redaction and the posit of space (2017)

Suspension against a white wall (2017)

At the corners of the impossible (2017)

Untitled. (2017) Installation View. B&W Photographic Print, Projection, and Bird Netting.

This installation was produced during my time at the Feminist Art Conference Residency, in Toronto, Ontario, May 12-26th. Untitled (2017) uses three collective modalities—photographic print, bird netting, and projection—to contemplate the meanings of blackness, the violence of movement, and the ruse of perception. Each modality works in tandem to present an ongoing process of becoming through the cycles of deconstruction and reconstruction that are layered on top of each other.

Untitled. Installation View. B&W Photographic Print, Projection, Bird Netting (2017)

 

 

Untitled. Installation Detail. Photographic Print, Projection, Bird Netting (2017)

Untitled. Installation Detail. Photographic Print, Projection, Bird Netting (2017)

Other Inclinations, 2017 installation 

Other Inclinations, 2017, installation

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