process #1 - #3
Stripping off the interface of a project, you see the codes and notes and dips inside.
process was designed for and inspired by the Queer Processes and Ecologies show, curated by Renata Critton-Papp. The concept of the show was to showcase works-in-progress, or works-about-progress, by queer artists. It is affectionately referred to as “the murder board”, and began as a speculative timeline of my internal thesis process, built with obscured printouts of my development log and GitHub repositories. These are linked together with a red string indicating my attention and disposition, sometimes taunt and frantic, sometimes dipping and spooling on the ground during times of burn out.
The Ecology show had two installed several months apart to show the works evolution, the first in November 2025 the OCADU graduate gallery. It was was installed in the graduate gallery again in February 2026 for the OCADU 2026 Graduate Conference, themed "experimentation through (Dis)Pleasure." The final Ecology show was in March 2026 at the the arQuives.
'process' evolved each time it was installed, adapting to different locations and guided by my state of mind about the thesis process it represented during the installation.
process #2
process #3
'process' evolved each time it was installed during winter of 2026, adapting to different locations and guided by my state of mind about the thesis process it represented during the installation. The final showing, at the opening for the Ecologies show at the arQuives, involved a performance where I added new shreds and connections to the installation throughout the night, both process risographs of the paper illustrations printed for the final thesis exhibition, and crumpled paper from the floor. I actually left working on the final draft of my thesis paper to attend the show, and the performance represents me closing in on the final thesis in real-time.
Artist Statement
This installation takes the internal documents of my masters thesis and collages them into a chaotic timeline, pegged with illustrations from my research paper and the development of this art piece. Red strings implying connections between ideas and work sessions, but dip in the empty spaces, occasionally coiling on the floor amongst discarded ideas.
My process involves a lot of highs and lows, starts and stops. I keep cycling through hypergraphic manic bouts where I am generating thousands of words and drawings trying to find something, and then sinking into burnout in between those flurries. A lot of this note taking isn't just capturing my research, it's capturing my moods and my fears in the process. It can feel as though I am writing around something, attempting to write myself through something. This sketching and outlining becomes invisible, discarded for newer iterations, or code nestled inside of more audience-friendly interfaces like bones inside bodies. But it is the aspect of the art that I spend the most time with, and it is what I see whenever I look at whatever the smaller, finished package becomes.
When I am burning, my beautiful friends are there to make sure I am taking care of myself. When I am burnt out, my beautiful friends are there to remind me that it is ok to rest.
materials: note taking software, sketchbook pages, abandoned github repositories, pen, tape, pins, string.
