a territory-wall-painting-window-mirror-screen-becoming.
Installation, sculpture, performance, photography and moving image (2017)
The notion of frame encompasses various interpretations, from the physical structure surrounding a painting or door to the underlying frameworks of systems and concepts. It extends to the architectural structures that shape our view, influencing our perception both literally and metaphorically. a territory-wall-painting-window-mirror-screen-becoming explores the liminal tension and transformation inherent in the act of framing, reimagining shifting boundaries between inside and outside, presence and absence, peripheries and center through our experiences of image, event, and body. Whether considering metaphorical boundaries or literal frames—painting, a camera's viewfinder, a photograph, a dance, or a wall—everything relies on some kind of frame to organize experience. Could painting be liberated from its confined frame? Could we exist in the space between frames and remain whole? Combining bodily gesture, choreographic object, painting, and photographic intervention, I explore the transformation of space through the fabrication of the frame as a gesture that composes both dwelling and territory, inside and outside. Within this, the screen functions as an architectural framing that encompasses the hybridity of wall, painting, and body—a movement that disrupts location.
I imagine the disruption and de-framing of these art forms, moving beyond traditional frames as a form of becoming; moving beyond the binary oppositions that separate inside from outside, private from public, body from architecture. The vermilion-colored wooden frame, as a choreographic object, relates to movement through its connection to space, the body, the making process, and its appearance. The work's title comes from Elizabeth Grosz's Chaos, Territory, Art (2008). The phrase "a territory-wall-painting-window-mirror-screen-becoming" suggests that art's first gesture is the construction of a frame. This initial impulse belongs not to the body but to architecture, standing at the threshold between body and earth; all art can thus be understood as an extension of the architectural imperative to organize space. Art, like architecture, works in two ways: first, by organizing our experience of the world, connecting our bodies to the surrounding universe; and second, by breaking through those structures, allowing unexpected experiences to enter through artworks that affect us bodily.
