The film I brought back from Hungary 2017
Men’s shaving cream painted on historic window, clear vinyl tape on floor and layers of paint pulled off of adjacent wall Sullivan Galleries, Chicago - 2017, Courtesy of MODEM Museum, Hungary

How much can absence be translated? This work explores the challenges of displacement, emphasizing impasses between legibility and illegibility, universality and specificity, transparency and opacity - tensions always undermining attempts at speaking about the place we come from to an audience that is culturally other.

“The film I brought back from Hungary” references an original installation I did at MODEM in Hungary - "Spectacle Studio: Words describing corrupted views" -which displayed the absence of artworks that couldn’t be made within ideological and architectural constraints of the exhibition space. Namely, where as a guest artist I was provided a glass cage, a fish tank, sort of like a prison, what they called “spectacle studio”. This ironically represents the political glass cage situation that artists, thinkers and cultural organizations navigate in Hungary, illegible for outsiders.