These objects and displays are the ground for images captured from archival and contemporary sources. Both bureaucratic and commercial references seek to make the tapestry more than a surface. These are sites where body politics and myth combine as networks of manipulation. Through the investigation of process the viewer may anticipate police looming behind black male bodies standing in a line, and public artifacts looming in the social consciousness. In considering the pulp of paper and fabric, the viewer confronts malleability of human forms and the effects of idol-making culture on empathy. Concepts and images align and rotate, radiating inward to confront mainstream distancing from black life. This is a demonstration of complicated accessibility. This is administration as verb, the images in concert with cool-blooded institutionalized violence.
The use of cotton and its attendant vocabulary once woven is an intricate exchange with American history. The grain of images, the “nap of the weave,” the wavering borders suggest the margin creeps into the frame. Collapse is irresistible. Loose threads and the natural warp of the material represent a glitch that invites viewers to revisit their memories and notions. The Jacquard weave recalls analog while accompanying sound and video further develop the artist’s dialogue with how technological developments have changed our seeing. The digital artifact doesn’t glitch or slip. This trains a contemporary eye to trust the given image. The simultaneous familiarity and distortion of these ground images welcome viewers, while forcing them to physically shift in order to register the tapestries’ meanings. This is an exercise in perspective alteration.