1/18/2020 ART: JESSICA SLIPPBECOMING ROCK Becoming Rock (2018) Video excerpts from a series of 13 video performances (02:57) Becoming Rock: Road Rock (2019) Video still image from performance series ‘Becoming Rock’ Becoming Rock is a series of performative videos that explore the relationship between body and earth through the repeated action of becoming a rock within the landscape. Although it is physically impossible to merge with the land, Jessica Slipp sees the exposure of each repeated attempt as an absurd, awkward, yet genuine and honest gesture to engage with the land.
Jessica Slipp uses rocks as a form and means to compact earth and time. She is interested in what rocks contain and how, when deconstructed, they return to tiny particles of matter – the elemental component to the fabric of the universe and where all of life began. With concern for planet Earth, she looks to Donna Haraway’s rethinking of the Anthropocene and use of the term Chthulucene to describe our current epoch. This encourages the process of thinking, making, and being with all living and non-living species. In this time of ecological crisis and global climate change, it is vitally important to shift anthropocentric modes of thinking about the world to thinking with the world. Jessica Slipp is a Visual Artist currently living and working in the unceded Indigenous land of the Kanien’kehá:ka Nation in Tiohtiá:ke (Montréal). As an interdisciplinary artist her work investigates notions of place, uncovers new perspectives of land & landscape, and challenges the way we exist within the world. She is interested in the the ways that place and identity are embedded in the land through geological, ecological, and human histories, and the intrinsic connection we all share with the world — from the particles that randomly composed it, to the very nature that we embody. Through her artwork she attempts to repattern perspectives towards a more caring and compassionate engagement with the world, and seeks to find new ways of rekindling the fundamental relationship between body and earth. 9/26/2019 POETRY: CATHERINE GRAHAMIF TINY CRYSTALS FORM CLOSE TO THE EARTH’S SURFACE THEY FORM DIAMOND DUST My antler heart grows hooves. I follow the lead from the pack. Find shelter in a drunken forest-- what species isn’t at risk. Insulating properties of snow keep me warm-- trapped air between each flake. With body heat and earth-transfer heat my home becomes a snowbank. It’s not the hare’s scream that haunts, it’s the antecedent silence. THE TREES we fill ourselves up with slow-banked health push off the not needed with the growth behind it we tick silent rings inside our own xylem clocks each wound is sealed with home-spun adhesive we synthesize sunshine to a flameless fire we shed to survive to burn spring green INTERSECTIONS All parts have a line with never end. Ongoing fury—burns a shatter zone. Cries by a gate can’t slip out, they hover. Hold blue in your hands. Go on, cup sky. This isn’t illusion. The sound of absence is your boat coming in. The work is in the meadow. It’s hard to put past in a safe place. Some eyes see, if not birds. ACKNOWLEDGMENTS “If Tiny Crystals Form Close to The Earth’s Surface They Form Diamond Dust” first published in the UK literary journal Stag Hill Literary Journal “The Trees” first published in the LCP anthology: Heartwood: a League of Canadian Poets Anthology “Intersections” published in the online UK journal/website Burning House Press Catherine Graham is an award-winning Toronto-based writer. Her sixth poetry collection, The Celery Forest, was named a CBC Best Book of the Year, appears on the CBC Books Ultimate Canadian Poetry List and was a finalist for the Fred Cogswell Award for Excellence in Poetry. Her Red Hair Rises with the Wings of Insect was a finalist for the Raymond Souster Poetry Award and the CAA Poetry Award. Her debut novel Quarry won an Independent Publisher Book Awards gold medal for fiction, “The Very Best!” Book Awards for Best Fiction and was a finalist for the Sarton Women’s Book Award for Contemporary Fiction and the Fred Kerner Book Award. She teaches creative writing at the University of Toronto where she won an Excellence in Teaching Award and is a previous winner of the Toronto International Festival of Authors’ Poetry NOW competition. Æther: an out-of-body lyric will appear in 2020 with Wolsak and Wynn. Visit her at www.catherinegraham.com Follow her on Instagram and Twitter @catgrahampoet
9/26/2019 POETRY: RASIQRA REVULVAOCTOPO AND TEUTHIET Two octopoteuthis deletron squid collided in the Pacific depths at sunset in July. Each one mirrored the other, with a shimmering, voluptuous, sperm-plastered mantle, and engorged arms bursting with come-hither barbs. The squid fell deeply in love. But soon they found themselves unable to feed. Both deletrons were inevitably drawn to hunting the other, now possessing the only flesh each craved in all the ocean. They pledged a vow of starvation, lest they risk consuming each other. With every passing wave, their bodies grew less sumptuous; their love more incandescent. And one November morning, both flesh and love were gone. OCTOPOLIS a cracked silver mirror reflects no octopus; its sand-blessed face now blasted and dark. wriggling copepods blind to the harvest, swarm on the bars of a vintage metal birdcage. given your eyeglasses, an octopus would shun the primitive lenses; covet their frames. gilded candelabra! ardent octopodes recreate your branchial arcs with flesh. see here, li’l miss mermaid! this octopus has one dinglehopper your museum can’t claim. her move: palpitating to the white king. a tentacular caress. checkmate. in an octopus’ untrained suckers, swords are more direct and less efficient than beaks if an hourglass lurked half-submerged in white sand, could an octopus measure a minute? splintered seashells in a nacreous mosaic frame an abalone portrait of you. BREEDING GROUNDS: EMPTY CALORIES so much depends upon the Greenland shark grinding its toxic jaws into a gaunt polar bear Rasiqra Revulva is a queer femme writer, multi-media artist, editor, musician, performer, SciComm advocate, and one half of the glitch-art and experimental electronic duo The Databats. If You Forget the Whipped Cream, You're No Good As A Woman (Gap Riot Press, 2018) is her second chapbook. She is currently adapting her first chapbook Cephalopography (words(on)pages press, 2016) into her debut collection, to be published by Wolsak & Wynn in spring 2020. Learn more at: @rasiqra_revulva and @thedatabats.
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