Seam: Oblique Crossing is a wall. It’s an expanse of concrete block, rendered at full architectural scale in charcoal rubbings on tracing paper. Through this translation, a weighty, rigid object is rendered flexible and responsive; the opaque becomes translucent. The permanent wall becomes a passing thing.
Seam: Oblique Crossing is a passage. Passing implies mobility and evokes something temporary, or transient. But the act of passing is not a simple movement between locations, it is a change from one state to another. A passage is not only a means of transit, it offers permission to cross, to transgress, to exceed limitation. Seam is a permeable structure. It’s made up of many openings. The way through this work is not singular or direct. Seam invites multiple paths- multiple interpretations that twist, cross, and meet obliquely.
Seam: Oblique Crossing is about queerness as a mode of engagement with multiplicity, not as an exclusive, or excluded territory. Queerness, here, is not a question of sex. It is a space where seemingly disparate ideas can and must coexist. Queerness is an experience of being more than one thing at once, when that’s supposed to be impossible. It’s a tool for investigating questions of orientation and connection.
Seam: Oblique Crossing is a spatial intervention that rejects the assumption that the territories on either side of a barrier are separate. The wall, ordinarily a mechanism of separation, is reincarnated as a tool for conjunction, reconciliation, and repair. Seam makes a physical, spatial assertion that our differences are the things we have in common, and the locations where our lives deviate from a linear path are the places where our experiences intersect.