An Incredibly Small Space to Pass Through:
On Metaphor, Relation, and the Resonant Murk
“you just have to let the soft animal of your body love what it loves”
and also
“don’t love your life too much”
Mary Oliver, excerpts from Wild Geese and One or Two Things, 1986
An Incredibly Small Space to Pass Through:
On Metaphor, Relation, and the Resonant Murk
“you just have to let the soft animal of your body love what it loves”
and also
“don’t love your life too much”
Mary Oliver, excerpts from Wild Geese and One or Two Things, 1986
An Incredibly Small Space to Pass Through:
On Metaphor, Relation, and the Resonant Murk
“you just have to let the soft animal of your body love what it loves”
and also
“don’t love your life too much”
Mary Oliver, excerpts from Wild Geese and One or Two Things, 1986
An Incredibly Small Space to Pass Through:
On Metaphor, Relation, and the Resonant Murk
“you just have to let the soft animal of your body love what it loves”
and also
“don’t love your life too much”
Mary Oliver, excerpts from Wild Geese and One or Two Things, 1986
An Incredibly Small Space to Pass Through:
On Metaphor, Relation, and the Resonant Murk
“you just have to let the soft animal of your body love what it loves”
and also
“don’t love your life too much”
Mary Oliver, excerpts from Wild Geese and One or Two Things, 1986
An Incredibly Small Space to Pass Through:
On Metaphor, Relation, and the Resonant Murk
“you just have to let the soft animal of your body love what it loves”
and also
“don’t love your life too much”
Mary Oliver, excerpts from Wild Geese and One or Two Things, 1986
An Incredibly Small Space to Pass Through:
On Metaphor, Relation, and the Resonant Murk
“you just have to let the soft animal of your body love what it loves”
and also
“don’t love your life too much”
Mary Oliver, excerpts from Wild Geese and One or Two Things, 1986
An Incredibly Small Space to Pass Through:
On Metaphor, Relation, and the Resonant Murk
“you just have to let the soft animal of your body love what it loves”
and also
“don’t love your life too much”
Mary Oliver, excerpts from Wild Geese and One or Two Things, 1986
An Incredibly Small Space to Pass Through:
On Metaphor, Relation, and the Resonant Murk
you just have to let the soft animal of your body love what it loves
and also
don’t love your life too much
Mary Oliver, from Wild Geese and One or Two Things, 1986
An Incredibly Small Space to Pass Through:
On Metaphor, Relation, and the Resonant Murk
you just have to let the soft animal of your body love what it loves
and also
don’t love your life too much
Mary Oliver, from Wild Geese and One or Two Things, 1986
An Incredibly Small Space to Pass Through:
On Metaphor, Relation, and the Resonant Murk
you just have to let the soft animal of your body love what it loves
and also
don’t love your life too much
Mary Oliver, from Wild Geese and One or Two Things, 1986
An Incredibly Small Space to Pass Through:
On Metaphor, Relation, and the Resonant Murk
you just have to let the soft animal of your body love what it loves
and also
don’t love your life too much
Mary Oliver, from Wild Geese and One or Two Things, 1986
An Incredibly Small Space to Pass Through:
On Metaphor, Relation, and the Resonant Murk
you just have to let the soft animal of your body love what it loves
and also
don’t love your life too much
Mary Oliver, from Wild Geese and One or Two Things, 1986
through one thing
A part of the same work towards uncontainable metaphor that bore No Question, this is a series of works about the moon. It is linked to the work about time, both in the contemplative, slow-time approach that the thinking and production takes, and in the conceptual and physical/biological ways that the moon is linked to temporality. This work is in progress; for me it represents the development of my working methodology throughout my time at ViCCA.
I wrote: I drew and drew the moon, and it started to seem like a Venn diagram of itself + the earth's shadow. I found the idea of that shadow strangely compelling, drawing and redrawing this image as a way to think about overlap, and also the space between how something is experienced and the physical principles underlying it….
The moon, and this form, started to overlap with ideas of reflection (reflecting bodies, valuable bodies), passage (a season as a passage, and a circle as a passage), and yearning (not as longing for a specific thing, but as in ever-present forces which effect the body). The idea of things pulling on a person that are unseen, difficult if not impossible to measure in a Cartesian fashion without specialized knowledge, and felt deeply; How forces felt daily can be ignored and overwritten by the brain, but still change your trajectory and shape. How some forces seem important but don't matter, ultimately. How maybe they can, actually, matter conceptually. As a thing to think through, especially when experienced directly.

Many drawings of the moon. Conceived of for projection and also to be laid out as a series of drawings, a kind of still or exploded animation.
2016

collection of anonymous seabird feathers, gathered
2018


Intaglio print. Night walk in a populated wild.
2017

rock from the archipelago, watch with a dead battery, foil circle, tiny feather
2018

breast stroke, complicated friendship, still lake
2018
Intaglio print. The shadow and the moon.
2017