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Performed April 6 and 7 , 2019 during Brewery Artwalk, Los Angeles
Et Nunc et Semper took place in the remarkable 150’ high chimney space of the 1904 former Los Angeles Edison steam power plant. In a pool of black liquid on the tower floor were drifting flowers, a strand of pearls slowly dipping, and the reflection of a woman passing the long necklace through her hands high above. While mourning the devastating consequences of our intoxication with power, whether viewed on an environmental, or even psycho-sexual level, the piece perhaps suggested a way forward in re-establishing slow connections via touch. The cyclical movement of the pearls made a primitive rhythm, precursor of counting and language. Cultural memories of the precarious phallic tower, Virgin Mary’s rosary, Echo and Narcissus at the pool, and Buddha’s lotus flower arising from the mud commingle. “When the possibilities of communication are swept away, the last remaining rampart against death is the subtle spectrum of auditory, tactile, and visual memories that precede language and reemerge in its absence. Nothing could be more "normal" than that a maternal image should establish itself on the site of that tempered anguish known as love.” says Julia Kristeva in her essay on the Virgin Mary. As the tower crumbles a catastrophe of identity ensues, plunging us back into a space of non-language, into the fertile black pool out of which emerges...
Performed April 6 and 7 , 2019 during Brewery Artwalk, Los Angeles
Et Nunc et Semper took place in the remarkable 150’ high chimney space of the 1904 former Los Angeles Edison steam power plant. In a pool of black liquid on the tower floor were drifting flowers, a strand of pearls slowly dipping, and the reflection of a woman passing the long necklace through her hands high above. While mourning the devastating consequences of our intoxication with power, whether viewed on an environmental, or even psycho-sexual level, the piece perhaps suggested a way forward in re-establishing slow connections via touch. The cyclical movement of the pearls made a primitive rhythm, precursor of counting and language. Cultural memories of the precarious phallic tower, Virgin Mary’s rosary, Echo and Narcissus at the pool, and Buddha’s lotus flower arising from the mud commingle. “When the possibilities of communication are swept away, the last remaining rampart against death is the subtle spectrum of auditory, tactile, and visual memories that precede language and reemerge in its absence. Nothing could be more "normal" than that a maternal image should establish itself on the site of that tempered anguish known as love.” says Julia Kristeva in her essay on the Virgin Mary. As the tower crumbles a catastrophe of identity ensues, plunging us back into a space of non-language, into the fertile black pool out of which emerges...