Listening to comrade artist Kai Barrow's talk “Key Not” issued at 2017 ROOTS Weekend-Richmond. Barrow is founder of Gallery of the Streets in New Orleans. Gallery of the Streets was the soil from which more than 15 Black feminist collaborators produced the choreo poem Ecohybridity, a 3 day multi site installation and theater performance work(2015). Barrow's work is disruptive and dope in the Blackest ways possible; Moor; Speculations on dark matter. Barrow talks up Maroon Abolition and the radical absurd imagination as a manner of generating counter public spaces and showing up for Blackness as a thriving recreation rich with complexity.
I am a process artist and not very good at documenting my work. Being here continues to reveal that i am interested in the processing that places objects and context in proximity with one another. Even the constellation of objects and what cosmographs generate.
I am interested in the evolving life stuff of things willfully coming together and issuing a creative charge, the defining features of why we gather; the colors, sounds, and ways space is used. Non linear collisions between macro and micro sets, like fractals- the interior and exterior crushes of our lives that haunt us from before birth into the after life.
the counter Public as a space of reckoning is like my Grandmother walking from her home to the subway stop to ride public transit. She donned day gloves and sunglasses, fresh pressed hair and shiny Black skin. I borrow this scene as a source of inspiration for my survival and imagination for a city i haven't been able to make peace with since it gave us crack.
Seems i wanna always have a shitty attitude, even when i don't want to. I be wanting to bark at folk and shout my rage how i survived this mess. But i don't do it in public and i don't wanna keep remembering this feeling. the counter public is a performative space that allows me to watch at mass essential levels- there are rules of engagement, audience, rehearsals, improvisation, collaboration, conduction, conflict, resolution, representation, set, scene, studies, and character development.
I am a process artist and not very good at documenting my work. Being here continues to reveal that i am interested in the processing that places objects and context in proximity with one another. Even the constellation of objects and what cosmographs generate.
I am interested in the evolving life stuff of things willfully coming together and issuing a creative charge, the defining features of why we gather; the colors, sounds, and ways space is used. Non linear collisions between macro and micro sets, like fractals- the interior and exterior crushes of our lives that haunt us from before birth into the after life.
the counter Public as a space of reckoning is like my Grandmother walking from her home to the subway stop to ride public transit. She donned day gloves and sunglasses, fresh pressed hair and shiny Black skin. I borrow this scene as a source of inspiration for my survival and imagination for a city i haven't been able to make peace with since it gave us crack.
Seems i wanna always have a shitty attitude, even when i don't want to. I be wanting to bark at folk and shout my rage how i survived this mess. But i don't do it in public and i don't wanna keep remembering this feeling. the counter public is a performative space that allows me to watch at mass essential levels- there are rules of engagement, audience, rehearsals, improvisation, collaboration, conduction, conflict, resolution, representation, set, scene, studies, and character development.
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