“Within [the] mixed capacities of the in-between…something emerges, overspills, exceeds: a form of relation as a rhythm, a fold, a timing, a habit, a contour, or a shape comes to mark the passages of intensities (whether dimming or accentuating) in body-to-body/world-body mutual imbrication.”
–Seigworth, G. and Gregg, M, An Inventory of Shimmers
The paintings in Hold exist between action and inaction. They speak of stutter and delay, of black fugitivity and intensity. Through references to branded shoulders, half returns, murmurs, apartheid prison gates, and black ghosts unburied, Hold rejects teleological frameworks of concreteness and finality. Can an alternate form of grace and care instead lie in an embrace of the awkward, the opaque, and the delayed?
I have begun to see my own stutters as love songs. The music sings about what is just beyond reach or paradoxically too close to hold ‘appropriately’. It is like hugging someone who is not your size; frames misaligned but still tenderly existing within the difference.
