Unravelling Text: Reading as a Polyphonic Practice

This practice-as-research PhD explores the artistic illumination of transformative moments of critical reading, citing and writing. Through an accumulation of textual and artistic fragments and a polyphony of citational voices, it journeys through the complex terrain of grief, interconnection and survival. Informed by a queer decolonial feminist ethics, the project is rooted in research within Undercommons and commoning practices (Emma Dabiri, Stefano Harney & Fred Moten), black feminist love-politics (alexis pauline gumbs, Audre Lorde, jennifer c. nash) and queer theory (ashon t. Crawley, LaMonda Horton-Stallings, Amber Jamilla Musser). Grounded in the domestic through reference, imagery and metaphor, this non-linear project proposes secular-sacred attention as an antidote to conventional Western academic methods based in Enlightenment thinking. It posits critical and artistic practises of illumination, gentleness and care (Helene Cixous, Anne Dufourmantelle, jennifer c. nash) as a means of survival in the face of loss and attends to the imagery of flowers as fertile ground for forefronting the inherent fragility of researching and making within the vicissitudes of temporality and late capitalism (ashon t. crawley, Emma Dabiri). 

 

The visual work included in this thesis takes the form of illuminated manuscripts, in which citations and original writing are woven around stylized botanical illustrations. Created as part of my ‘devotional citation’ praxis and using both illustration and embroidery techniques, these artworks live on the page alongside the writing, and act alternatively as illustrations, interruptions, excesses and provocations. Aesthetically and formally, ‘devotional citation’ is a celebration of the sacred modes of attention inherent in religious practices such as the Christian ‘Lectio Divina’ and the Jewish Rabbinic textual commentaries. Whilst honouring these religious roots, ‘devotional citation’ enacts a secular-sacred structure of feeling (Ann Pellegrini, Raymond Williams) which instead of praising a God, seeks to illuminate the ‘instant-now’ (Clarice Lisepector) and praise the myriad glories of small and specific moments of research. 

 

Botanical illustration and embroidery have a direct haptic bearing on the non-linear progression of the project, as this argument for the revelatory nature of small moments of study finds its accumulatory force through a complex interwoven series of illustrated and embroidered objects and fragmented critical, fictional and biographical writing. In this way, this project is a work of continuous unravelling and remaking (Stefano Harney & Fred Moten, Laura Harris), in which temporal insurgencies (Fred Moten, P.A. Skantze) created through revelatory moments of study and sedimented temporalities accumulated through citational practices (Amber Jamilla Musser) are briefly illuminated. Recognising that opacity is not the enemy of connection (Edouard Glissant), these acts of illumination do not seek to define or categorise, but rather to honour and dwell with textual, material and floral companions. Furthermore, in honouring these companions as equal participants in the co-creation of the work, the project’s ethics of care extends into a space of interspecies belonging (alexis pauline gumbs, Anna Tsing). 

OpenSide2.jpg

Side A of Mobile Tondo 1 (Open) featuring citations from Fred Moten, Black and Blur (2017) and P.A. Skantze, Moving Home at Hayward Gallery, London  (2012) and my own notes in the margins. October 2020. 

OpenSide1.jpg

Side B of Mobile Tondo 1 (Open) featuring citations from Ashon T. Crawley, Black Pentecostal Breath: The Aesthetics of Possibility (2016), Edouard Glissant, The Poetics of Relation (1990), Amber Jamilla Musser, Sensual Excess: Queer Femininity and Brown Jouissance (2018) and Jennifer C. Nash, Practising Love: Black Feminism, Love-Politics and Post-Intersectionality (2011). October 2020. 

Circulating Citations featuring citations from the work of Dionne Brand, Edouard Glissant, June Jordan, Tiffany Lethabo King, Katherine McKittrick, Fred Moten, Amber Jamilla Musser, Jennifer C. Nash, Leanne Betasamosake Simpson and P.A. Skantze and my own notes in the margins. October 2020. 

AD Errant Margins.jpg

Tondo 1 featuring citation from Anne Dufourmantelle, The Power of Gentleness: Meditations on the Risk of Living (2018). August 2020.

This is How We Pray 2.JPG

This is How We Pray 2 featuring citations from Gwendolyn Brooks, To The Young Who Want to Die (1986), Helene Cixous, The Laugh of the Medusa (1976), bell hooks, Feminism is for Everybody: Passionate Politics (2000), Nikki Giovanni, Stardate 18628.190 (2002), June Jordan, Where is the Love? (1978), Ntozake Shange, rise up fallen fighters in From okra to greens (1984), P.A. Skantze, Itinerant Spectator/Itinerant Spectacle (2013), Alice Walter, Be Nobody's Darling in Revolutionary Petunias (1973) and my own words outside the quotations marks and within the margins. August 2020.