ANIMATING FACTORS
… not a postcard but a posture: bent, jeweled, hungry, erotic, prayerful. The stoop opens like a palm scored with old futures. Bodies move through smoke, cloth, brass, diesel, jasmine, and old sneakers each one carrying a private radiance and a public fatigue. The beautiful thing is always a little damaged; the damaged thing, somehow, still luminous. Desire and renunciation lean against one another like tired saints …
Upon the bed of bitten nails,
he lies where dust and breath have both grown thin.
the dusk unthreads its smoke,
and camphor writes white rivers on his skin.
one whom hunger taught to flower in pain.
Around his ribs the midnight flows
through ash, old flowers, and the rain.
a body bright with its own thorn.
The nails are stars
in midnight hair,
STOP SHOOTING US.A.Fghanistan
Animation over documentation photos of street art posters and murals combining images of protesters in Afghanistan and USA against drone warfare and police violence. The military vehicles sold to local police departments are part of the domestic militarization of police with retired equipment from the Forever War in Afghanistan publicly illustrating the --"insidious entwinements of war and police, metropole and colony"
“theory arrives too late, while the real life of queer thought, images, and practice happens in the unstable space in between. That space is described as one of creativity, love, sex, deep histories, and interactivity. The project is drawn to artists working outside fixed categories and hierarchies, making work through poetic syntax, beauty and ugliness, difference, and inscriptions of the self. It treats the “in-between” not as abstraction but as the everyday material world of bodies, earth, connections, and living histories, with emphasis on change rather than fixed categories.”
theory arrives too late, while the real life of dissident thought, images, and practice happens in the unstable space in between. That space is described as one of creativity, love, sex, deep histories, and interactivity. The project is drawn to artists working outside fixed categories and hierarchies, making work through poetic syntax, beauty and ugliness, difference, and inscriptions of the self. It treats the “in-between” not as abstraction but as the everyday material world of bodies, earth, connections, and living histories, with emphasis on change rather than fixed categories.
