working off the resonance

The bigger the issue, the smaller you write. Remember that. [...] You pick the smallest manageable part of the big thing, and you work off the resonance.

–Richard Price

My three-month exhibition in the Oliewenhuis Art Museum is a big thing for me. I have spent much time reflecting on how best to write about a solo exhibition that specifically explores collaboration as artistic practice. In itself this is contradictory ... isn't a solo the resonance of one's own artistic voice only?

My solo exhibition what remains through time, slowness and stillness most certainly resonates my unique creative Voice in the world, but simultaneously, and by virtue of my embedded collaborative artistic practices, there are also the resonating echoes of those collaborating with me. In what way, I ask myself, can I perform and write about my solo exhibition whilst simultaneously amplifying the existing connections of others? [Here, I might want to remind myself that 'working off the resonance' means the amplification of existing connections due to the resonance already being embedded.]

Richard Price writes elsewhere: "You don't write about the horrors of war. You write about a kid's burnt sock lying on the road." Imaging pathways of erasure by collaborating snails in my exhibition, for example, is picking the smallest manageable part to open up conversations around the (still remaining) impact of erasure due to colonisation. The horror is addressed in what can be tolerated, stomached.

The perspective of 'writing smaller' whilst navigating big or complex issues is compassionate enquiry; perhaps even a form of empathy.

erasure patterning on Fabriano paper created by more-than-human-collaborators (live snails)