Theory

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new drawing

This drawing is about Dounreay, a decommissioned nuclear plant in Scotland. It’s about contamination and fragmentation and residue. Nuclear catastrophe is one of my earliest memories–I remember Chernobyl and my father explaining the firefighters had gone in knowing they would die horribly. I was six. I already knew about radiation poisoning because I had read (maybe too early) Sadako and the Thousand Paper Cranes. I was privately obsessed with nuclear energy. I couldn’t have articulated it as such, but I read about the atomic bombs in Japan before I was in middle school, and made tiny shrines to the firefighters in Chernobyl that I kept in my bedroom. I was afraid of four things: the sun exploding (because no one would be there to care for our bones); radiation (this extended to nuclear war and power); cowboys; and the devil (how the last two came about I have no idea).

So I’ve been thinking about radiation for a long time. Twenty-four years, I guess. And thinking about contamination more and more in my work. The hardest thing for me about Fukushima is that there will now be, in the middle of this place I love, a dead zone. An uninhabitable place, a poison place. No one will go there. The photographs of Pripyat are horrendous to me. A human wasteland. Testimony to immense loss and immense foolhardiness and, most of all, waste. (You can see photographs of the reactor, people in the area today, and others here as well.) Waste of land, people’s lives, people’s memories, people’s records. Archives–gone. Photographs–gone. Drawings, paintings, musical instruments, scientific instruments, tools, religious artifacts: gone. And radiation contaminating everything that is left: water, ground, crops, plants, wildlife, graves, buildings, roads, toys, books, houses.

It makes me think about what will be left.

What an archaeology 4.5 billion years from now would discover. What will be left in places like Fallujah, where depleted uranium is causing unimaginable birth defects and misery. What fragments will spell out our foolishness and pride and trust and hope (because I do think that these things–nuclear energy–began with the hope and trust that knowledge will lead to beauty) and also our cruelty and short-sightedness and greed.

I think I will never stop thinking about contamination, either in this way (specifically nuclear contamination) or in a more general figurative sense. It is one of the most productive centers of my brain. How things change other things by their presence and how non-contamination is impossible, and also what can be traced of the effects of contamination and of people’s belief in it or refusal of it or fear of it.

I am making this work in part to make myself think outside of my normal patterns (it is not all figural/representative; what is representative is much more realistic than I would usually make). But mostly I am making it to think through the presence of this thing that fascinates and frightens me (nuclear contamination) and to reconcile myself with the fact of it, and to generate ways that I can, privately, work against it.

Which of these do you prefer? Why? Any adjustments, criticisms, changes, things you like or don’t like in particular?

Thank you for taking the time to help me with this. More on this project soon.

hair

“I am aiming at a Rilkean kind of celebrational object”
(William Gass, “The Art of Fiction No. 65“, The Paris Review, No. 70, 1976).

I’m looking for a word that means a desire, a strong desire, for a certain kind of object.
I’m trying to figure out what the feeling my brain and body (brainbody. bodybrain.) call ‘pink’.

Where did it come from, this feeling of pink things.
Which are not ‘pink’. For instance this shooting star pin by Kiki Smith is pink.

Pink as a feeling: I want things that a resolutely pink. The pink of my mind is a cerise pink, a pink of fuchsias, etc.
Pink is a kind of index in my brain. Indexing my brain. Way of seeing.

My hair is long enough to wear in braids around my head (not necessarily pink).
Today I put spun cotton mushrooms, acorns, bird, velvet leaves in the braids (pink).

Maggie Nelson’s book Bluets is pink.
So is the book Une histoire de bleu by Jean-Michel Maulpoix.

Two blue things.
I imagine the pink is not mappable outside the body.

I imagine pink is the combination of living alone in a tiny, musty French apartment.
The rainwater in the courtyard. The red dotted-swiss at the windows.

The path from first movement of pencil (my father saying, now look, you made a dress!)
to here, this word, the next word, the word I am about to write.

Pink is a silvering of the edges of most things.
A color of theory mostly a color of making.

* * *

That’s my word on it.

Completely out of water

The thing I miss the most, no question, is community. My friends who support me and my work in very integral ways (and whose work I can support–which gives its own energy–and whose projects inspire me), I miss them. They live so far away. Their community is particular. Without competition to it. I’ve never felt the discomfort of oneupmanship happen with them. My family, obviously, in ways I don’t think I could realise until I was suddenly gone for five years and have no idea what goes on on a day-to-day basis with any of them, and that has just happened somehow. I even miss the people whose work I’ve followed, via the internet, for years now, because most of them are in the US–and we’re on such different schedules that, although I see the conversations taking place, I really don’t feel like I’m still part of them. I love where I am in my work, my life is good. I love living in these places (although I find England difficult, too). I feel visceral ties to places I never imagined going, really, as a kid or young adult in Minneapolis (Paris is an easy one…but I never imagined going to Belgium; I don’t think I even thought about it as really existing until I met Jonathan) and if I were to go back to Minneapolis, that wouldn’t solve this feeling of perpetual (emotional/intellectual) homelessness. Novalis wrote that philosophy “is really homesickness, an urge to be at home everywhere”. I feel the truth of that. The farther I’ve gone from home (whatever that is, now), the more I’ve needed, even without articulating it or thinking it out loud or in writing, to think myself into that space. These drawings are certainly part of that thinking, its most recent form. How do I belong or not belong where I am? What does it mean that I’m here (and not back there, where I remember myself being)?

Natural orders

Caveat to all this: I have had wonderful, supportive friendships here and in France, met many special people, enjoyed myself. I’m talking about the rare, deep bond you sometimes have with a few people with whom you live closely for a period and with whom you share certain experiences, outlooks, and priorities.

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