Category: Photography

Dear one,

Have you ever been lost? I mean right properly lost. So turned around you can’t remember where you came from or what direction is the way back.  

It’s unsettling to say the least.

Do you know what your mind does when faced with profound uncertainty? Where do you go in your head? What coping do you use? Do you reach out to blame someone or thing? Bad map or a shit guide? Do you turn inward and blame yourself? Do you forge ahead in uncertainty? Or do you quit and sit down? How long can you “stay with the trouble” before despair sets in?

I had nearly forgotten what it was like.

I have really only been deeply lost twice in my life–lost to the point of despair. Once in the mountains of Costa Rica. I could not find my way and at one point believed that I might never get home. The second time I was profoundly lost was when my concrete notions of faith dissolved and I became agnostic. It was an agonizing three months that left me with thoughts of suicide due to the extreme feelings of meaninglessness.

Friend, I am lost again. This time, however, I am lost by choice.

This summer I entered the woods in order to abandon the known routes in my life. I wanted to leave behind all that is familiar—the status quo that is responsible for so many troubling structures. I do not want to only fix problems with band-aids or be a white saviour to the legacy of colonial and racist violence. I do not want my liberation lens to end at white feminism.

I do not want to die knowing I could have pushed harder to change the way I live had I just stayed with the trouble a little longer.

I want to be a better ancestor.

I want to take this life force, this energy, this star dust that is my body and run it as hard as I can into trying something else.

For me, this looks like getting lost in the woods.

‘becoming lost’ is really about losing the specificity of our boundaries, the intransigence of our anthropocentrism; it is about shapeshifting, colluding with plants and rocks and wind, and becoming fine enough to meet the challenge of a dead-end. Perhaps it is more about noticing that we are the dead ends we confront, we are the monsters on our path. It is about broadening our spectrum enough to see that ‘the way ahead’ is not as demanding and as exclusive as our frantic maps make it out to be, but a promiscuous field of threadbare possibilities wanting to be stitched.

Bayo Akomolafe

I cannot go back, and I do not know the way forward. I have no compass, no map, and it feels dark.

It is from this place that I invite you alongside me as I journey through these woods, real and metaphorical. In this time I am questioning everything. I am prying behind the structures I have taken for granted and asking what happens when I loosen the lines–or obliterate them altogether.

I intend to be here for the next five years. I intend to get comfortable not knowing, stumbling my way through this place.  It is sometimes scary, sometimes lonely, sometimes incredibly rewarding.

I know there are many paths through the woods, and the one I am following is maybe just for me. But I welcome your company, if you want to come alongside me through this beautiful, uncomfortable passage.

Your friend in the wild,

Alexandra

Last year I set out to “unsettle” myself by planning to live in a tiny house on wheels on land I did not own. My core thesis was that how we regulate land regulates ourselves. I wanted to explore this idea through site specific installations and intentional living practices producing a body of works at the end of the 5 years as well as a collection of personal reflections on the experience.

I have had to shift this whole project, however, learning that it was not possible to build a tiny house on wheels under current regulations. I won’t go into the details, but at this point living in a tiny house on wheels on land I don’t own, is just not possible.

So, instead I am living in a tiny cabin in the woods on land I share.

This summer I bought a ½ acre in Woodridge. On this land there was a hunting shed and work space. Over the last three months I have worked to renovate the shed into a tiny cabin, and the workspace part of the structure I am turning into an unheated studio.

My intention is to cultivate a seasonal studio practice where over the winter months I move my work indoors, spending time in reading, writing, sketching and dreaming. In the warmer months I move my practice into the studio where I am able to produce the work I have mentally cultivated over the winter.

Like my original intentions, I am exploring my relationship to land, to self and to community. I am interested in how my relationships to each of them have been shaped by exploitative colonial and capitalist power structures and whether I can divest myself of these and the privilege that comes from being a white American.

By taking on the work of disrupting convenience in my daily life and cultivating a seasonal life, I am hoping to surface the ways these colonial and capitalist structures are present in how I live. I am widening my circle of community to include the soil, the elements, the fungi and bacteria, the plants, insects and animals who cross my path, as well as the humans who are a part of my life.

I am uncertain what this body of work will look like. Currently I am moving towards a clay practice that is ephemeral, a print practice that is illustrative, and a photography practice that is documentary.

As uncertain as I am, and as unsettling as this past year has been, I am, nevertheless, looking forward to the work ahead of me.

I did not want my body.

Female bodies were weak bodies. My body was not weak. I was strong. I had immense capacity.

Female bodies were targets. There to be viewed, groped, harassed, and assaulted, female bodies belonged to people with power. My body wanted power. I learned to fight and to disgust. I could burp louder than a man, eat just as much and knew how to kill with a well placed hit to the jugular. I wore my camo pants and flattened my chest. I was no one’s girlfriend: I was a comrade.

Female bodies were ill bodies. They bled, got sick and stayed in bed. My body was not a sick body. I could push through any pain, fight through any illness. I found my physical limits and challenged them. I leaned into pain.

Female bodies were subservient. Made by God to be “help meet suitable” they were weaker and more susceptible to sin. I was born under the authority of a man.

There was nothing I could do about that.

I told God he had made a critical error when he made me a woman.

Wasted opportunity.

Much later, in the violence and ruins of a crumbling belief structure, I came home to my body.

I memorized the breastplate of St. Patrick while on my way to the International Christian Youth Group in San José. I carried the ancient prayer in the side pocket of my camo pants along with traditional Gaelic songs, ballads of middle earth and Tennyson’s The Lady of Shallot.

I worked hard to unite what my unschooled mind knew about science and what I knew about Christian ontology. I knew Jesus was true because I understood how the space time continuum functioned on earth.

I knew that I moved in the intersection between the 3^rd and 4^th dimensions and that all life was only a shadow of the real. In a spectacular union of theology, medievalism, romanticism, and Eurocentric idealism, I came up with a formula for how to know if something was true. If it felt good, it it was beautiful or held a hint of what the German romantics called Sehnsucht, it was core to reality. In other words, it was a “shadow of truth” suspended in space and time for eternity.

Aslan is Jesus is King Arthur is Aragorn.

If you couldn’t see it, you weren’t looking hard enough.

“Today I put on a terrible strength
invoking the Trinity
confessing the Three
with faith in the one 
As I face my Maker”

I mumbled the words as the bus headed south to the city. Protection against the supernatural forces that tore at my soul trying to disrupt my task as a spiritual warrior.

I left the compound in Costa Rica when I was 18 to discover what kind of warrior bard God had called me to be.

I surfaced as an ordinary human somewhere between cups of tea and chopping onions for supper at L’Abri.

Last night each artist presented about the work we have done over the past year for Rural Arts Mentorship Program. Brenna encouraged us to make a short video about our work. It was a great way to condense my progress and ideas around my work into a short introduction. I am nowhere near complete, but by now I have a really good sense of the direction.

Also, I now have a YouTube channel!

Jessamyne Polson was my closest friend in Costa Rica. I don’t know what normal teenage relationships are like, but teenage friendship in isolated zealous Christian expat communities in the mountains of Costa Rica was intense. I was an isolated unschooled American expat living on a family compound in the Mountains of San Isidro de Heredia. Jess was a homeschooled Canadian MK living with her family in the missionary compound a forty minute walk away.

We entangled each other in the webs of our primary social circles and forged our own tangled friendship. She was my closest friend and comrade against the constraints of family, but she was my fierce competition when it came to establishing my social identity.  

Sometimes I think about what my relationship with Jess would have been if it had been safe to be friends. I play the what if game.

What if I had seen examples of healthy relationships?

What if it had been safe to be intimate?

What if we had lived outside a patriarchy?

What if it had been safe to inhabit my body?

What if it had been safe to be vulnerable?

What would friendship look like in that context?

I try to imagine our friendship in that context, but I can’t. It’s an impossible task for my cynical imagination that only knew one reality.

I play a reverse game what if game:

What if you only see abuse of power in relationships?

What if intimacy is used to control?

What if you believe women are the cause of human ill?

What if you believe your body is sinful?

What if any vulnerability is exploited?

What would friendship look like in that context?

I can tell you.

You come away with intense moments of beauty, and painful moments of regret, and a shit ton of dissociation.

If you’re lucky, you meet a friend who, throughout the tangled web of life, is resilient as fuck and can cut through the knots of teenage friendship and see its core intention.

Jessamyne Polson, you are one brilliant, beautiful, resilient woman.

Folks, I have been sitting on this big announcement for a while now, and I am SO excited to finally be able to go public with The Public!

Together with my dear friends and husband, we are starting a microbrewery and art gallery in Steinbach, Manitoba! Based on the idea of a public square, we have designing a place where you can meet up with people, view the work of rural based contemporary artists while you drink beautiful craft beer made onsite!

Along with a gallery for viewing work we are also bringing The Tiny Gallery on board and it will travel around to rural towns with a reproduction from our main gallery.

I cannot even express how excited I am.

There is a shit ton of work to do, but for now, I am just so proud to be making this announcement!

You can follow the adventure on Instagram: @thepublicbrewhouseandgallery

This past month I participated in an online group exhibit titled, Momentum. Last week we had our online opening which consisted of a zoom panel hosted by artist and professor, Sarah Fuller. A week prior to this Dana Kletke, Co-Executive Director of MAWA interviewed me about my work in the exhibit.

It is my first exhibit experience that has included not only the opportunity to craft a group curatorial statement, but also to experience both a panel and an interview specific to the exhibit and my work. What I now know: I really enjoy the process of making work coupled with conversations about process and ideas. I love how both the process of making art and the art itself brings this expansive capacity to conversation and allows viewer and artist to experience, view, and talk around ideas within the art.

As a new experience, this feels like such a generous “art world” tradition. Every artist should have the experience of exploring their work with safe, curious, interested viewers. What a thing.

Though, now that I am reflecting on all this, it occurs to me that I should credit the organizations of MAWA and MAN (such an unfortunate acronym) for being safe, positive spaces for artists to talk about their ideas.

The exhibit and the interviews have been really helpful as part of the Rural Artist Mentorship Program. I will write about my participation the program soon, but I just want to just to mention this exhibit and interviews on my blog. Momentum lands as a mid-point in the mentorship program and, as such, provided a fantastic opportunity to forge and small body of work, and fine-tune the ideas, complete them, document, and then communicate about them.