My primary artistic pursuit, to quote writer Toni Cade Bambara, is “to do justice to that realm of reality that we all live in, but do not acknowledge” through the use of poetic artistic gestures, gestures which open space for instability, uncertainty, self-interrogation and alternative configurations of language, of representation, and of thought.
My practice explores the problematics of historicity, the photographic and written trace, and their relationship to black lived experience. Of interest is the development and progeny of strategic maneuvers and ideologies deployed within black communities in response to and in spite of the atmospheres of anti-black violence in which they lived. Furthermore, I combine semi-autobiographical text with sound, and/or images to highlight the violability and potentiality of blackness, of black female sexuality, and of their capacity to destabilize meaning.
I utilize glass to conceptually embody the everyday risk of anti-black violence. Central to my practice is the reuse, deconstruction, and reconfiguration of materials which correlate to the fragility and fungibility of blackness. I engage these acts of cycling and re-articulation by using the same materials from prior installations to formulate the next. These "reoccurrences" which develop into new forms represents the ways in which repetition is both a symbol of black cultural production and its reliance on an order of temporal engagement in which the second time encodes an emergent originality.
The processes and conceptual frameworks which motivate my practice are linked by repetitious and perpetual acts of undoing and redoing. They worry over the metonymic remainder that underlies nonlinear meaning formations and the failure of discursive capacity. I emphasize the traces that remain and the joining of attempts at a re-articulation and/or regeneration that are always already cut by the past and the present. These acts may be understood as an attempt to establish a ground for a historicity (and futurity) that is already foreclosed on but, at the same time, holds on to a possibility made possible by the very fact of the ensnarled nature of its intermingled, nameless beginnings and becomings.
charisse.weston [at] gmail.com