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Land and Sea: Watch where the branches of the willows bend; See where the waters of the rivers tend; Graves in the rock, cradles in the sand; Every land is the holy land –Ursula K. LeGuin
Artist Tristan Duke photographs the Placerita Oil FIeld and the Tehachapi Wind Resource Area using lenses make from frozen drinking water. Fulcrum Arts’ Curator, Patrick J. Reed, goes along for the ride.
The tide line is a soft transition. Where capital meets the sea, it creates brittle structures, likely to shatter. The ocean’s edges may not be as fluid as they seem.
Inside this, another animal grows, then another, another. Eventually there are hundreds of thousands.
discomforting circularity turns in my stomach, thinking about Santa Monica’s full-circle from place of work to ‘workplace.’
On February 22nd, I walked from my house in Northeast Los Angeles to the ocean in Venice Beach. I recorded the nearly 9 hour, 20 mile walk along highways, under bridges, and through different neighborhoods with binaural in-ear microphones.
In the fall of 2020, I began gathering samples for what I’ve termed an Anthropogenic Mineral Collection. These carbon-based minerals consist of human-mediated byproducts of geological intervention from the Industrial Revolution to the present. The majority of those in my collection are caused by industrial mining of valuable conductors, and have not been recorded elsewhere as natural occurrences.
Colonialism is rooted in the planetary imagination which fails to account for histories of structural racism based on geologic relations and the violent dispossession of indigenous lands. This resulted in legacies of destructive cartography and mapping now used in machine vision in space.