installation view of
The stars are a mnemonic without object./Let the forgetting
begin.
at Murmurs, LA
she bathed a trumpet in milk—Eduardo C. Corral — milk, silver trumpet
stripped of the parts which make it playable,
plexiglass vitrine 30 x 17 x 17
16 Deaths for Edivaldo Silva de Oliveira and Jeovan Bandeira whose
burnt bodies were found in their car on the tenth of June, 2006
— metal plinth, plexiglass vitrine, velvet cloth, metronomes set to
Grave, Largo, Lento, Larghetto, Adagio, Adagietto, Andante, Andantino,
Maestoso, Moderato, Allegretto, Animato, Allegro, Vivace, Presto, and
Prestissimo. The metronomes are wound once a day at the
gallery’s discretion, 75.5 x 55 x 18.5
from
sentience of music (duet)
Let the forgetting begin. —
brass clock movement mechanism slowly dissolving in lacrimal solution (salt water made to
mimic the composition of tears), plexiglass vitrine. 15 x 15 x 15
viscera of a butterfly selected pages from the collection of the artist,
framed, 41 x 33 x
1.5
staging the organism:processor (atoms are not atoms)(higher tensile
strength than steel)(the bone which allowed us to exit the oceans)(a story for every bone in the body)
— assorted mammalian bones and bone tools, tumeric, cadmium yellow
pigment, found shells and vegetal pods, dimensions variable
Outside of the surrender to the incommunicable
a geometry stricken
with epilepsy.
installation view of
The stars are a mnemonic without object./Let the forgetting
begin.
at Murmurs, LA
installation view of
Nails for the Hammering of Vetch at Pina,
Vienna — various materials in paired piles representing the average weight of the human heart and brain
“thine”
“leafhopping”
“tongues”
installation view of
The stars are a mnemonic without object./Let the forgetting
begin.
at Murmurs, LA
Brutality
Torsion
Expressionism
Polarization
view of
on a few points of principle/
Item sabots/
blouse—/
I work in the dye-house/
myself
— aluminum plaque, wooden stage, collected wooden sabot (Belgian, Dutch, American, Spanish), collected bowls (Pre
Columbian, 12th century Cambodian, modern Tibetan, Civil War Era American, 19th century Turkish, & originals by
the
artist), collected machine components, lacrimal solution (salt water made to mimic the composition of tears), 144
x
96 x 8
Linklines at Jupiter/Saturn conjunctions, beginning c. 5 April 4950 BC, 750
times,
period 14,893.9 years selected pages from the collection of the artist, framed, 41 x 33 x
1.5
detail of
as the organism decays and the bones are no longer held together by the
flesh
— Stradivarius Violin, likely fake, (C. 1726), burned until broken
from
sentience of music (duet)
an unslipping knot, gender —
oxford men’s shoes dissolving in gastric solution (HCL solution made to
mimic the composition of stomach acid), plexiglass vitrine, 15 x 15 x
15
when mineral rich groundwater permeates organic materials and fills the
empty spaces, a fossil is formed
Oscar Schmidt Menzenhaurer Autoharp burned until broken, dimensions variable
pattern produced by a spoken vowel, selected pages from the collection of
the artist, framed, 41 x 33 x 1.5
separation of pieces of an organism caused by natural events (i.e.
floods, scavengers etc.)
Antique bowl back mandolin burned until broken, inkjet print on
photorag, dimensions variable
Portraiture
Effluence
Telemetry
Extremity
Transfixion
None such a surface or a painting as the brain which has decided on suicide and is now flattened against the wall /
the image. There the erotic knot of refusal and production reveals itself. Is tied around the tongue and pulled down
the throat—asphyxiation—a talisman hungry as a newborn. Gnawing its volume. The Suicide of Images and the
artist with them.
Exhibitions:
Café Heaven at Salzburger Kunstverein, Salzburg, 2022
The stars are a mnemonic without object./Let the forgetting begin. at
Murmurs, Los Angeles, 2021
Nails for the Hammering of Vetch at Pina, Vienna, 2020
October 2019 at Veronica, Seattle, 2019
The Acoustc Universe at Prairie, Chicago 2018