My current practice resides in the intersection of natural history, magic realism, and autoethnography, all bound by livestreaming as medium. At its core is makeshift, precarious (be)longing in a fractured and disillusioned world.
Envoy revolves around a historical footnote-of-a-footnote kind of story that literally employs the screen as spiritual medium and depends on its materiality for sustenance, gravitas, and some semblance of existence. Across tabs, continents, and time, it is my sincere hope that this segment of the sea snake specimen’s story winds its way to you.
My work resides in the intersection of autoethnography, natural history, and magic realism, all bound by livestreaming as medium.
Ultimately, I see the biennial as a chance for me to act as hunter, shaman, and historian with the online space as a cage, repository, or reserve for the virtual, anachronistic, and postcolonial ghost of this sea snake.
I propose a virtual expedition called Envoy. Part of an ongoing project, its past incarnation includes email art (Wild Time 2) and performance-livestream (Ang Duhol ng Walang Hanggan / The Atemporal Sea Snake). My goal is to invoke the spirit of a particular sea snake in time through a three-part series of time-specific and screen-based works.
Citadel. 2018. Concrete, rope, model tree, and light. 9 x 1.5 ft.
I propose a virtual expedition called Envoy. Part of an ongoing project, its past incarnation includes email art (Wild Time 2) and performance-livestream (Ang Duhol ng Walang Hanggan / The Atemporal Sea Snake). My goal is to invoke the spirit of a particular sea snake in time through a three-part series of time-specific and screen-based works.