THIRD FLOOR
The attic proposes broader politics, especially regarding my Methodist faith and queer sexuality, but further: a refusal to simply decorate. I lean into how the autotheoretical operates beyond the misogynistic, racist, limited notion that to theorize on oneself is simply “navel-gazing.” While I have used autotheory throughout the rest of the exhibition as a device to illuminate something personal in my unwell, queer body, I hope to show how autotheory is also a revolutionary tool for deconstructing colonialist propaganda and structures.
This space attempts to heavily echo the socialist activist and godfather of the Arts and Crafts movement, William Morris, and his equally formidable daughter, May Morris. As a craftswoman, my job is to turn my gaze upon labor practices, to consider what it means to generate arts, craft, and narrative under capitalism, and to reject automation for the sake of automation. Akin to the inclusion of my own novel on the second floor, I am including a collection of Morris’ socialist imaginative landscape; novels and poetry tagged for the audience to peruse at their leisure. I additionally provide some of my own writing, durational performance that negotiates correspondence and address, and published content surrounding reflections on the intersecting crises the world faces.
The attic tackles concerns and conversations surrounding the climate disaster / violence under capitalism (the pervasive and ongoing ecocide / genocide of all peoples being oppressed by US imperialism, including but most definitely not limited to the brutal devastation of indigenous folks such as the Palestinian people, and the attempts at policing bodies through anti-LGBTQIA+ legislation in the United States.
I EAT THROUGH BRAMBLE, & I ASK INANE QUESTIONS;
Berries hold a prominent place through out this exhibition- specifically, pomegranates and blackberries. What started as an obsession with a line from Mrs. Dalloway, “and I’m blackberrying in the sun,” became a deep-dive into the context of blackberries in a broader, art historical, religious context. Pomegranates were introduced, especially with their relationship to fertility, art history, and rejuvenation. I was working on this exhibition prior to the brave act of resistance for Palestinian sovereignty on October 7th, 2023. In the time since, as we have all watched in real time via social media an appalling, gruesome attack on the Palestinian people. Unequivocally, this genocide / ecocide has been fueled by the tyranny of Empire, and the US government’s abysmal policy. At this moment of brutalism in late-stage capitalism, I have found my own anxiety difficult to mitigate: both as someone who is powerfully concerned for the people of Palestine and the infringement of human rights on all Indigenous peoples, as well as someone overwhelmed by what may ensue now that Western society has deemed the use of such weaponry acceptable on civilians.
As I worked on this section of the exhibition, I couldn’t help but think that, more than ever, about the entanglement of domestic policy designed to control and legislate bodies and its direct relationship to the brutality and right-leaning actions of Western international policy. The tie between extractivist ideology is parcel to the sublimation of queer / trans / disabled / femme-presenting / women persons in society.
Here, I provide more imagery drawn from both Christian and Islamic traditions, using fruits / forms mentioned in the Bible and Quaran to reference the ways in which society forsakes those most in need and the ways in which fruit can be symbolism of fecundity. Especially in light of how the geno/ecocide in Gaza has had the largest impact on women and children, babies and toddlers, and those who are pregnant, I could not stop thinking about how this assault on a whole people was an obliteration of entire family lines.
“In the holy Qur'an, pomegranates are also mentioned as describing Paradise and the fruits of Paradise, a good-looking, colorful, healing fruit whose seeds cure pain. Pomegranates are very similar to watermelons; the inside of both is usually red and sometimes white; you can't understand the color and taste inside them until you open them.”
Pomegranate and its Properties According to the Holy Quran, Dr. Mohammad reza Afroogh.
“And He is the One Who sends down rain from the sky—causing all kinds of plants to grow—producing green stalks from which We bring forth clustered grain. And from palm trees come clusters of dates hanging within reach. ˹There are˺ also gardens of grapevines, olives, and pomegranates, similar ˹in shape˺ but dissimilar ˹in taste˺. Look at their fruit as it yields and ripens! Indeed, in these are signs for people who believe.” (6:99) - The Clear Quran, Dr. Mustafa Khattab.
Inspired by William Morris’ SOCIALISM banner, this large banner was constructed for the It is Not Enough performance.
Morris’ SOCIALISM banner, currently on display in the William Morris Gallery Walthamstow, London, United Kingdom was something I sought out in October 2023. My photograph of the banner, alongside the book I originally found it in, were on the desk at the back of the attack; laying alongside a compilation of Morris’ novels.
In my rendition of the banner, an object that was originally marched through the streets and attended rallies with comrades, I replaced the depiction of Adam and Eve with a crown of thorns. This image, repeated throughout the exhibition, is matched with the text “SOLIDARITY.” With a desire to redact gendered terms the gendered terms “Brotherhood” and “Fellowship,”
When I say “SOLIDARITY,” I don’t mean in an empty, divorced way that separates me from struggle but signals my consciousness of it. Presented in the context of this exhibition, with the performance that this banner was incorporated into, I mean:
Solidarity, with the working class.
Solidarity, with Gaza and all Indigenous people.
Solidarity, with the Global South.
Solidarity, with disabled people.
Solidarity, with queer people across the globe.
Solidarity, against the ruling class.
Free Palestine.
Free Congo.
Free Sudan.
Free all places suffering under the violence of imperialism.
It Is Not Enough
Four performers took turns grinding, rubbing, and blending ink with fruits; writing and stating aloud that “it is not enough to be devotional and restless” in the wake of profound injustice.
NOTATIONS
Take a minute to write an introduction that is short, sweet, and to the point. If you sell something, use this space to describe it in detail and tell us why we should make a purchase. Tap into your creativity. You’ve got this.
