now then. a slow seizure that casts amber residue

This work is a sound and sculptural performance with chairs collected from the streets of Los Angeles. This was an extended months-long process that considers limitations of autonomous travel and practices of gathering, packing, and moving in the city. The driving and collection process were considered just as much part of the performance as the designated time of the public presentation. The laboring worker’s body is the work.

Travel and movement of these lived-with materials are considered a process that connects points of gathering and the many streets through which the materials have traveled. This work was intended to create an echo chamber of realities and time-suspensions generated with sound and movement related to the lives that the chairs once lived, and the people who once lived with them. There are overlapped sounds of live-feed captured from movements during the performance alongside pre-recorded sounds of chairs being dragged through streets and alleyways of Los Angeles.

**Aerial Performance Map:** The original image was sent to me by a MOCA employee of the parking lot. The map imagines points of arrival and departure in alternative amber universe with surfaces sunbleached by a sun too yellow. This is the unseen seizure referred to in the title, a kind of ethereal explosion.

The audio was captured on-site and remixed into the pre-recorded sounds of chairs being dragged. This included audience sounds being cycled back to them in-time, alongside sounds of chairs being dragged through the streets of Los Angeles.

This performance was performed as part of Kchung Public: Labor at MOCA, curated by Christy Roberts Berkowitz. Christy, you are always amazing I am honored to work with you and be friend and comrade. Thank you Katya Urban, Reese Paddock, and Nick Forman for the help in preparing this work and taking some photos.

Photo Credit : Kevin Cowel, Katya Urban, and Reese Paddock