(Lajien synty)
Human after all, oil pastel on paper, cutout, 2002
The origin of the species
2002
My white privilege is so heavy. Hold my tiara.
Co-worker, 2002
Natural hair movement.
oil pastel and gouache on paper, 2000-2002
Mitä hänestä tulee mieleen: este, mutka, talvi, Venäjä ja keräilytalous. Kuka on runoilija?
vesiväri ja muste paperille, 75*55cm,2002, 20*25cm, 1998.
Anastasia Kinos – makea kuin kuivatut karpalot, pähkinäinen, filmnoirimainen (vai suomifilmimäinen), luminen, kuoppainen sateen jälkeen.
Tänään keskustelussa, että Vimillä puhdistetaan aseita (Narniassa), ja joululahjaksi olisi hyvä saada ihmetippoja, ja mitäköhän vielä, niin uusi tutkimus, tupakointi saa aikaan savuisia unia.
Peitin nimesi kädelläni. Piirsin viivoja päälle, tunnistin kirjaimet niiden alta,
piirsin laivoja, piirsin tähtiä, kalloja, kelloja, sanoja. Piirsin kuvan itsestäni, mietin mitä on olla rohkea, kun on ollut maailman ujoin.
Paisuva läpsähdys, lämmintä apinanmaitoa, lumen anarkia, mielen kaaos. Mahdoton jalat harallaan, jalat ristissä, vaihdoin lakanat. En voi sanoa olevani peloissani, se tekee minusta heikon. Mitä tein jäästä, jonka sain syliini, kun uskalsin olla naiivi. Se on edelleen sulamaton lohkare. Otin painavan lahjan kevyesti vastaan. En odottanut muuta tehtaan liukuhihnalta. Pienessä lammikossa pöydällä teetä. Kirjoitan siitä mitä tapahtui, koska elin kaiken, mitä se olikaan, sekaisuutta, ideoihin syöksymistä ajattelematta. Olin täysin loppu. Enkä kestänyt enää yhtään itsekästä paskiaista. Olin niin vihainen, etten välittänyt mitä minulle tapahtuisi. Halusin sanoa, että kaikki ei käy, rakkaus voittaa (miksi se on vaikeaa), vaikka näin vain vihaa (siksi), silti.
Working class identity, working class experience. What do people who haven’t grown into working class know about it? To my experience not very much.
Co-worker, 2002/ How to breathe
date that passed was a day, time that passed was once that day, name attached to a
person that was not, emergency of spirit, breath, suspicion over what if. who is that? what does she want? what did she want? depending on how we react, expect, scare dictating how we behave. suspicion, why did we expect the things we did? how did we come up with these expectations? suspicion and scare, how did I end up wanting the things I wanted?
how I grew up to be a man, because that is the ultimate ideal of a human being to be. characteristics of a man woman as assisting, a statist, a decoration, a thing, so surrounding that, I could not think of myself as such.
Co-worker, 2002
Finisterra, ending is a change.
Finisterra maailmanloppu the end of the world
It is in repeat, in repetition that is not changed, pattern that is not questioned.
A constant need for something, to be something with that something gained, that needs to be named.
What happens, what will I make happen in this idea of constant, a moment that is moving, a movement of individuals of constant, making moves to make a change that does not eventually end up changing much, or anything. The end of the world and a world is when worlds of mine and yours come to an end as they were, as we obviously have learned to know them and as we have lived them, in them. To live a world and to end a world as it is a possession and is many worlds simultaneously, ours. World is an it and them, an I, a persona. Worlds as minds and bodies, a body which we penetrate violently without reaching the world we wanted. Because we do not understand our hostility and our constant needs are not matched, strangeness of our own which is an obvious part of the world, the unknown. We escape it, because we are afraid of it. We try to possess and destroy strangeness of that other, but never of our own. We just silence it, the it in us, hide it to nonexistence and solitude.
Co-worker 2002
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