<div dir="ltr">- I immediately wondered how this would be installed, given the split screen. Seems of especially core importance for this piece<div><br></div><div>- A meditation on making: I felt it embodied the psychological and physical struggle involved in making a thoroughly considered artwork by, as the protagonist says, 'getting into the responsive place'</div><div><br></div><div>- Saliva (or 'magic sauce' as the fisher/painter describes it as she flobs onto her hair jig) is mentioned as what we assume is also spit is simultaneously rubbed over the glass/lightbox by a pair of shadow hands. This – combined with the painted, unabashedly pissing women who are discussed and eventually shown – makes me think of Elizabeth Grosz's description of queer and female bodies as historically 'leaky', and therefore disgusting, inconvenient and embarrassing.</div><div><br></div><div>- The lightbox/glass image of tweezers??, liquid and cord is reminiscent of IVF</div><div><br></div><div>- One image gradually becomes the shadowed reflection of the other, and at one point the sound becomes 'dualised' too. </div><div><br></div><div>- There's lots of playful doubling here in fact which (along with the constant presence of water and other liquid) brings Roni Horn to mind:</div><div><br></div><div>Fishing and Painting</div><div><br></div><div>The work and the self</div><div><br></div><div>One screen and the other screen</div><div><br></div><div>Real life and its hypnagogic shadow</div><div> </div><div><br></div><div> <br clear="all"><div><br></div>-- <br><div class="gmail_signature" data-smartmail="gmail_signature"><div dir="ltr"><div><div dir="ltr"><div dir="ltr"><div dir="ltr">Journalist and Critical Writer<div><u style="font-size:12.8px"><a href="http://www.helenahaimes.co.uk" target="_blank">www.helenahaimes.co.uk</a></u><br></div><div><br></div></div></div></div></div></div></div>
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