"Untitled Wall" (2013-2017) is an embodied investigation into the experiential aspect of studio practice, utilizing both experimental painting techniques and the digital camera as a means to explore identity, memory, movement, and materials. The research considers painting and dance as knowledge and experience, representing ways of becoming in the world through experiential, process-oriented methods that question the boundaries between the physical and virtual, the corporeal and the digital.
The digital camera became both a part of the performance and an inscriptive mediating apparatus that captured affective images emerging in the liminal space between the seer and the seen, in a fluid and dynamic relationship.
I began by embodying the paintings, making them kinesthetic and deterritorialized, by eliminating the canvas frame and relocating them to other frames and inscriptive surfaces such as the studio wall, as a means to acknowledge the fluidity of the subject-object relationship. Similarly, performative methods of recording allowed for the re-materialization of the ephemeral body gesture. I thought of photography and the digital camera not as a means of production of artifacts but rather as an extension of the body and an inscriptive mediating apparatus capable of capturing the movement of affective and transitory gestures through light, exposure, and duration.
The digital documentation became a record of this experiential exploration. Although some documents were produced as artwork, the majority of the documentation remained as a digital archive, embodying the process-oriented nature of the research.
The written reflection of the process culminated in my MFA thesis paper "Variations on Broken Lines" (2020).