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views of The Workshop, 2022;

MFA Open Studios, California Institute of the Arts, CA, 2022;

Five-channels site-specific video installation, 2h55m;

Sound sources include dane mitchell's Post Hoc episodes of 5/6-09-21 (unlicensed);


In The Workshop, the screens default to redundant perspectives on a previous ‘state’ of the studio: its dark, cleaner desk, on it a laptop obsessively processing what seems to be the same image, over and over. Through their audio-visual score the screens appear to be exposing the dynamics and pivotal moments of an unknown, seemingly self-enacting process of production. A process whose objectives remain opaque, immanent and inherent to the space.

Simultaneously, the studio operates as a multi-layered spatio-temporal set of content coordinates: it is a ground, (self)assembled both in preparation to and independently from the piece, before, during and after its activation. It is, at once, the place where production happens, to which it is directed, and from which it originates.

A long list of artists' names and their works' titles is read or recited out loud, evoked in the process, not without a certain complacency. Works from the past that appear to be lost, destroyed, stolen, or simply missing.

The score is interrupted by sudden, alternative production moments. New imagery, substantially other than their default production, is violently outputted by the screens. Functioning beyond the exposure of a process, these images tend to identify ‘things’: we see limbs, animals, anthropomorphic surfaces, geometric shapes, chromatic assemblages. We get the feeling something is being attempted, something of a representation, composition, formation, something structural, yet random in its suddenness and perceived dimension, or, perhaps, just another form of listing.
A moment of peace, the beginning of a new score. The previous score becomes the first of a number of attempts. The screens seem to be revisiting the first score, this time presenting a new list of artists and their lost artworks, and slight production variations. The screens repeat, establish a cycle. Perhaps all they are doing is ‘adjusting for error’.
The second attempt also appears to fail
and this system recurs to its escape strategy: outputting a single, multiform, obscure image, claimed to be all that remains.

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