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One of the most effective ways an artist can model their own history is by fabricating it themselves. This can be done to then depart from such a fabrication, encapsulating both making and knowing in a unified creative gesture.
The artist and critic Jesse Murry described “a breath that makes possible another breath.” How can our movements allow for other movements? As artists, how can our practices extend space for others as much as it asks for space; and give language and poetry to others as much as it asks for those things. I’ve been told I wear many hats, and I want to address the why of it for the first time, while also bringing together a small vibrancy of others who share in strange navigations and similar obligations with me.