A sealed vessel that gushes, filled with draining. A drawing that tears-up, sobbing. A painting that speaks in tongues, licking itself dry. A tooth to sit on. And even a place to hide your honey hole…. Sometimes more forgotten, sometimes more remembered (more personal), the shifting works track primal traits of figure, mark, flesh, and structure through mysterious deconstructions of glitchy iconographies and slipping materialities. Altered, altared. Each work is radically aware of its own body, and of its position within a system of endlessly oscillating oppositions. Repeatedly marked, filled, or drained, these bodies appear as vessels—but as leaky, shivering, cracked vessels. Determined as much by what they leak or lack as what they hold. Is this body filling-up or being-drained? Ambiguously sacred and cursed, ravished by supernatural charm. Is this a body that floats, or a body that drowns? With a change of state at each blink of a gaze, the objects dissolve any observation with their gushing. Shattered and assembled by their pouring.
Following this dysmorphic movement through sequenced transformations and portaled structures (as thresholds of change), the exhibition winds a symbolic (rite of) passage from the delirious to the lucid and back again. But with each cycle some residue of a reality is left exposed to the viewer as their encounters with the works circulate throughout social, (art) historical, and political determinations of materiality, gender, sexuality, and subjectivity. (An Oedipal struggle with the odor always already left lingering in a room.) Estranged, yet still populated by the mythologies in which they emerge, the works keep track of the rituals and bodies they contact. It is at this point of repeated contact with others where the exhibition touches symptoms of power structures present in interactions with objects and images—and their cathexes. Specifically, power is confronted as a shape of desire, a libidinal order. Expressively and Symbolically, the works disrupt dominant distinctions of taste or aesthetic desire, personally regenerating a pleasure principle through trans, feminist, and queer modes of embodiment. However, this communal critical consciousness seems as much a material result as a conceptual strain of the artists’ processes and their collective focus on how to record gesture, meaning, expression, and memory occurring at different times in the same place. Posed as a question: how is one body recorded on the surface of another? Or, how is an encounter between bodies recorded by an object?