Through the use of spatial relationships, video, coding, writing, and bookbinding, this art installation places the viewer at the center of a node, a point of convergence that examines the variety of peoples and organizations who use/embody/manipulate the term transgender and to what effect. By placing various sources and voices in conversation with one another, the work examines whether any word that seeks to define or describe non-binary gendered embodiment can ever really do that or if it instead always fails to contain/apprehend all of it’s own iterations, implications, and complications.
In creating these works with a nonlinear structure in mind, the viewer’s conventional modes of processing of image and text into understandable and digestible narratives are undercut. Placing the viewer in this state allows for the multidirectional tensions of the various photo, video, audio, and textual elements and their juxtapositions to be considered without a predeterminable resolution. This system does not inherently construct or destruct meaning but rather gives meaningful elements over to a system that may alter meanings based on how they are understood in context.
It is primarily work that is about seeing and being seen as non-passive acts, about teasing out the violence inherent in systemic and dehumanizing methods of categorizations, about empathizing and dissociation, about the thresholds and portals between things, and about the bodies (mine) that are caught amongst it all.
Installation overview, video installation piece is positioned behind the walls with text. (See above for links to videos of wall text and book.)
Digitally printed and coated with wax, viewers were invited to handle the book which would pick up fingerprints, scratches, smudges, and marks from their interaction. Over the course of the installation the books surface became increasingly weathered, implicating the act of viewing the work as a non-passive act.
An image of the book in the closed position showing the marks from viewers hands. The book is designed to be non-linear, meaning that there isn't one fixed way to move through the pages. Instead, parts of images overlap and the unexpected way in which the book unfolds becomes a rumination on skin and the body without a specific beginning or end point.
Back projected at a large scale (15' across), the part of the installtion cycles randomly through a series of short videos. The video and audio components include shots of the artist body (as seen above) shot in studio, found footage from television and news outlets, computer screen captures, voicemails, and more. While projected at a large scale, the the viewing space is also truncated to less than 8', forcing viewers to be close to and overwhelmed by the images.