FOFA Gallery, Montreal, Canada
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*the waves* is a portrait as virginia woolf’s novel of the same name was. In the book the waves speech and its absence are central to consciousness and the seeming society of the self. Woolf’s writing is said to be material in nature and truly modern in form as it provides interplay between poetry and prose, and as such it is a narrative unsettled yet complete in construction. The sculptural works that were produced around the time of reverse engineering were explorations in my own right of the tools of a modernist feminine weighted with stones. Formal and material considerations are central to a practice that is coded feminine. With this assemblage I flirt again with the ovoid forms of Victorian portraiture, (this happened first with portrait as part of cilia, in zoon, axe neo 7). Pink thread wrapped copper wires string together one oval, waxed and pimpled as unhealthy skin of an ugly girl and another where thorny barbs come forward in aggressive protection. These branches from the honey locust were a central motif in the works of that summer. My attraction to the spiky branches was not only formal, but rather due to the animal nature of the tree that bore them. You see, the honey locust only has these terrifying spikes near the base of its trunk. It protects itself from being eaten by beginning its branch growth with these razor sharp forms, so sharp, that they were used as nails traditionally in the deep south. As the tree grows, those exact same thorns transform into branches, soften, and begin to develop foliage. This plant that has developed methods of self preservation and communication fascinates me.