Astral Projections is a set of works that navigates through the trauma of the everyday, and in particular the potentials and failures of grieving bodies in relation to generally unperceived traumatic events. The project works with different aspects of everyday experiences and moves through ways unrecognized or unspoken traumas become coded, felt out, discovered, and moved through in familiar movements, images, and architectures over time. These Astral Projections together are intended to reflect a psychological ground that includes interior spaces such as daydreaming, unintelligible sounds, movement without destination, escape, alternate universes, and overlapping experiences of time and memory. This work connects to movement across ground that does not require cartography or borders, but is always limited by actual political geographies and architectures. Astral Projections is a work in progress and not all parts have been fully realized in physical space.
Astral Projections: Yaanga and the not yet
Yaanga and the Not Yet engages with how complexities of interiority interacts with and produces external worlds that are always constrained by location, especially through the perceived rigidity and politics of built space. The physical and visual space of the project is created to regain and move in sensory pleasure that everyday trauma limits or represses. This work engages with the collision of parallel histories – a collapsing of different perceptions of place and time through the navigation and movement through the land and physical materials of Yaanga/Los Angeles.
The framework for the material aspects of this work is rooted in the complexities of the local shifting populations of California, acknowledging indigenous geographies, and the need for nongeographic psychological spaces for physical bodies. Beach sand and shells were collected from the California coast and placed inside the partially torn down wall in the exhibition space. The dirt and plants are from along the border of Seal Beach military land. The torn apart wall is a representation of the skyline of Los Angeles as seen from downtown. Two videos are from locations that are on the edges the Yaanga/Los Angeles area, and the third is a video taken while driving local freeways in an altered state of mind. The red boxes are conceived as anti-architectures, with the potential to be moved, shifted, interacted with, and become flexible structures.
Yaanga is the Tongva name for the area that is also called the city of Los Angeles.
Yaanga and the not yet was exhibited at the Armory in the Mexicali Bienniel – Calafia: Manifesting the Terestrial Paradise curated by Ed Gomez, Luis G. Hernandez, and Daniela Lieja Quintanar.
photo: Ian Byers-Gamber
Astral Projections: A Hole In my Knee
A Hole in My Knee is a video installation with a monitor that faces a corner in a dim space. Only one person can view the video at a time, with the light of the video washing over them in different colors.
The video consists of a series of highly saturated videos paired with videos of unengaged looking at floors and corners. The saturated videos are appropriated and are made from people around the world attempting to capture sounds of an unknown origin. The sounds are a global phenomena that sound like faraway trumpets, a low-pitched hum, and are understood as mechanical. They are believed to be produced by seismic events, but are experienced as faraway and unattached to any particular human or natural event. This video production is a shared global activity of the inability to perceive and locate sounds with vision and video.
40 minute looped Video
A Hole In My Knee Video Excerpt & Screenshots:
Astral Projections: Publication
more images to be posted soon on this project…..
This publication considers ways that mundane states of grief become coded in the act of looking, moving through the world, and documented by casual photography. The publication contains a series of printed cell phone photographs, reproduced emails used to communicate passing moments, and a writing printed on the inside of the cover. This publication is printed by risograph and xerography.
Made in collaboration with Los Angeles Contemporary Archive (LACA) 2017. With a special thanks to Cal Tabuena-Frolli and Hailey Loman for essential production support and direction, and to Garrett Hallman for feedback and reflection.