Lately I've found myself thinking about human and computer interactions. As more of our communication, research, and creative work moves through digital systems, I keep returning to the fact that there is still someone on the other side making decisions. Production remains interesting to me because a set, studio, or exhibition becomes a temporary structure where ideas are tested collectively in person, short-circuiting the intermediary. It’s more joyful being together like that.
For the film and images, we collaborated with Adam; Clinton Hughes of The Oddinary Studios, who styled the micro-film; Danita Nuchsawat Appelbaum, who created the croquis and fashion illustrations; and Elodie Goldberg Jacquemain, who conducted the interview with curator Christina Frank, shaped the design and visual structure through her creative coding background, and appears onscreen. The elegantly simple design of this platform provides the framework. The result is a mash-up of styles, references, images, dreams, and authorships attempting to give visual form to that feeling. Special thanks to Dennita Sewell and Kim Askew Kramer for their support of this project.
Somewhere between Brooklyn and Ojai I realized the structure I had been relying on, the circle, the discourse, the expansion outward, was still intact, still asking to convert everything into content. I could feel it happening in real time, the reflex to connect, to resolve. So I stopped. I didn’t ask for a conclusion. I didn’t try to hold the two together. The paintings remain where they are. The body continues its form. It ends without synthesis, which is maybe the only thing that hasn’t been absorbed.
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