On minor histories and the horrifying recognition of the swift work of time (2016)
Phototex, voile curtain, pigment print on fabric, HD video, c-stands, lights
On minor histories and the horrifying recognition of the swift work of time is an installation using photography, video, and sculpture. This project examines the language of memory in relationship to cinematic language, both literally and figuratively. What is the act of remembering when the language that is spoken is already fragmented? Navigating my mother’s history and relationship to Vietnam, the irrevocable gap between experience and its enunciation – between what is deemed personal and what is deemed public knowledge – is suggested. In using language formally as textual and visual material, I am interested in how written language works to efface the body to become something accessible, while also pointing to the underlying role of desire in our utterances. At the intersection of personal and public memory – and asserting that the personal is political – this installation uses the photographic and the cinematic to reveal the incapacities of language in the aftermath of trauma and how language and images are used to make sense of where we come from.