Happy new year. I’ve taken a much needed respite from the webs, not to be confused with the webs, or the web, or even W.E.B, I’m talking about social media which my accounts have been deleted, except for some non traditional ones, and youtube, but, I mean if you want to see me on youtube, you’ll be looking at someone else’s channel . I shall not return, you’ve heard it here first. This is where you get me. Enjoy it. You can still see me walking around, maybe driving some place, or on a plane or in a museum/ classroom/ studio/ library/ kitchen/ use your imagination.
To kick things off here is a new poem, A Short Trip Around The Sun.
A Short Trip Around The Sun Is a multi-faceted poem that incorporates video and performance with its text element. The themes of urbanization, capitalism, policing, racism, death, and the relationship between people and their environment take main stage in the reading of the poem while a projection of an accompanying film plays in the background. The main character of this piece is unknown, they are a city dweller in rapt as they read the manuscript of A Short Trip Around The Sun. The settings of street corners, abandoned buildings, dead malls, alley ways, early mornings, late nights, public transportation centers, parks, and the wilds of nature surrounding the city are reflected on in the scenes of the accompanying video. I see the poetry of this piece as a combination of the styles of Amiri Baraka and the Seoul based duo Young Hae Chang Heavy Industries. Baraka the poet, philosopher, in his blackness I find liberation and the cultural genealogy from which my words are born. In the same way I find a kin in the works of Young Hae Chang Heavy Industries, having worked with the artists. There is a concreteness and rhythm that is prevalent in both and can only be sighted as jazz in the way that the combination of elements creates feelings in the viewer. The technical aspects of YHCHI, their flash based animations, and installations, speak to the pairings of cultural sensibilities in the same way that Amiri Baraka’s poetic form is the political rhetoric in representation of black liberation and Marxist thought. I find myself in a middle ground with both feet planted in visually expressing through film the physical concrete of the urban landscape with the metaphysical debris of language. It is a territory in contest with popular media, fertile with the imagined and resolutely tangible. Built on a collective history this space is stratified with the layers of the gathered experiences of all the pass through it, this is the liminal space of a kind of dynamism, and increasingly becoming realized in virtual realities. I intend my work to bridge a digitization of organic forms and materials into a quantum state of existence in multiple dimensions at once, spreading across the temporal, cultural, social, and spiritual nature of realities.