APPROXIMATIONS (2024)
three-channel HD video, color, sound, nylon mesh
with sound design by Emir Chacra

this body of work attempts to distill movement from the body. the projections are perpetually out of sync but persistent in their repetition. a pulsing beat, field recordings, and voices instructing bodily gestures create consistency through dissonance.

the views of the bodies are obstructed, distorted, glitched. a dancing body leaks out beyond itself. a dancing body breaks itself. a dancing body replicates itself. a dancing body dances with itself, against itself, into itself. a dancing body removes itself from its container. i am interested in the ways that bodies leak in space beyond the containers of their bodies.

through installative performances mediated by screens in space, i seek to extend the physical movement afforded by dance beyond my body. it is an effort in transgressing the container of the physical body, a refusal to be contained. it is an extension of queerness, of gender fluidity, of mixed raceness, of existing between tongues and fields and disciplines.

by abstracting, multiplying, and refracting the body, i look to control access to the original body to invite an alternate reality that houses undertones of subtle bodies of spirit and the imaginary.

mediating the work through camera and screen transmutes the physical body into a data body. when the body is reduced, replicated and reconstituted into particles of data, what new properties emerge? how does the (uncategorizable) data body perform ?

this work presents (data) bodies as secretions into timespace.

secretions are ungraspable.

this work is an extension and intersection of current research into: (1) installative encounters that refract and extend bodily relationships and (2) embodied performances that negotiate audience participation.

the multidimensional projections take up negative space, becoming membranes through which the viewer must to pass. it is not possible for viewers to move through the space without be(com)ing part of the space, as shadows on the projections.

the figure(s) in the moving images are obscured; the form of the body itself is ambiguous and elusive.

within my practice there are questions emerging around how bodies store and distort time. in cultures of hypertime where mechanisms of watching, monitoring, measuring, and “saving” time are used to control bodies and movement, what are rituals of stretching time? is the glitched body a strategy in elongating time?

time is impressed into us; it dictates our movements. is it possible to unlearn time? is it possible to unperform time? is it possible for performance to be a dissolution of time, or is performance inherently bound to time?