geographies of Black safety and un/safeness (2019 – )
Geographies of Black Safety and Unsafeness is a mapping of “The Talk,” or the conversation that Black parents must have with their kids in an attempt to keep them safe from white supremacist violence. The project overlays common advice and words of love that parents attempt to surround their most precious gift to this world with as they venture out into a national landscape actively working toward their demise.
recompense (2017 – )
The contemporary idea of reparations, so threatening to so many people with a limited and distorted view of the concept, takes into account past wrongs, but fails to account for current, repeated and will-full manifestations of theft — political, cultural and economic.
Intellectual labor theft on social media. The creativeness embedded in black bodies and expressed through dance, signifying technique and other forms of expression that white supreme accepts as entertainment. Recompense assesses and recoupes what’s widely become known as cultural appropriation. But naming and shaming cultural appropriation doesn’t go far enough. Because those named are rarely shamed.
Instead white supremacist culture, which exists in all persons categorized as “white,” has and continues to plunder black American culture. Whether aggressive plunder or more subtle siphoning, a debt is owed. That black expressive culture has not been quantified — has it? by legal precedence? — and damages assessed against white supremacy has not happened is telling in itself.
Recompense provides a visual lesson for many who claim to be “visual learners” in a language that late-stage Capitalists understand: the invoice.
Receipts, invoices, maps what are they used to tell us about the quotidian? I like taking these taken for granted, used and discarded items to talk about the taken-for-granted in our racial discourse.
project on search in tv/film (2015 – )
I am fascinated by moments when people search information on the web and have been collecting screenshots since 2015 or so. Disparate people from moments in their lives of “needing to know.” Capturing the moment of deciding to search, preparing to look, engaging in searching for the right (key)words and knowing after a search, the ways that televisual narratives are propelled forward are always already dated as soon as they are depicted in television dramas and films.
Also part of the collecting are the names that TV and film writers (or production managers?) make up when a character has to do a search are of interest. My favorite: UK soap Coronation Street’s Voggle. The resonance between real and fictive search engines belies the true nature of search engines which is not providing knowledge, but gathering data on the user. Searches conducted on a whim, or in life or death situations, are all given the same weight or flattened when on-screen activities are rendered on screens.