150 x 150mm, 32 pages, Colour printing, Saddle stitched, Screen printed covers, 2024

The work explores the spatiality of rooms, cakes, and musicals, writing from a place of embodied ekphrasis.

The geometry of the space clarifies in the time between its experience and remembering. Syntax enfolds snatches of phrase from instruction manual, dance lessons, the explaining of a child. Words rise from the site.

'The geometry of space tightens in the distance between objects and the memory of them. It matters where things are.

As a teenager I converted my intuition of my surroundings into a geometric system. I internalised standardisation spatially. I became very aware of the angles of objects in the house. I knew some were gay, some straight.

Sara Ahmed's Queer Phenomenology illuminates how queer slanting occurs off a vertical line which is itself a projection. Robert McCruer's Crip Theory illustrates the standardisation of early dictionaries' language defining able against disabled, homo- as -not- hetero-: even in its own system, standardisation undoes itself, showing all to be in relation.

This geometry was useful when I started drawing, my acute sensibility to angles in space translating to my accurate depiction of them on the page. I measured planes against a vertical line; its adherence to verticality was something I practiced. My early art career was successful due to this standardising system, where learned how to translate accurate images. I also learned to look closely. My methodology for writing is informed by this close looking.'

Published by