Your installation for Dawning: dust, seeds, Coplees at Lubov Gallery places viewers in an exciting and strange space of precocity — a bouncing back and forth between curiosity and discomfort. What do you think/hope is offered in this in-between?
In the very early stages of coming up with this project, Dawning: dust, seeds, Coplee, I was thinking a lot about both intentional and inevitable interconnectedness. How every single being on Earth holds the responsibility of existing. I’m not saying responsibility in the moral sense, but more like acknowledging their own being and the world within each other, rather than thinking of each of us as discrete objects. In short, they respond to each other. I very much enjoy the tension between curiosity and discomfort that the work generates with the audience. I loved observing people tip-toeing not to knock off an object that was made of scrap plexiglass and a baseball. It was the moment of initiation of the relationship between this anthropomorphic object and the person. During those interactions, the quiet, gentle, slow-paced observation with respect beyond species was something I really wanted to put to the forefront when I was imagining the project. These connections aren’t like solid lines that I often imagine to be, but they resemble more like that aerial energy that we subtly feel in the air when two beings start to interact.