7
EVERYTHING IS EVERYTHANG
A meditation on relations, love and loss, this intentionally opaque collage of sights and sounds revolves around the artist’s extended family in South Central Los Angeles. It gives space to communal moments of everyday life while concurrently trying to tie them into a larger socio-political and -economic context.
2
CIRCLES
Marking the beginning and end of On Our Time, the concrete grounds of the Watts Towers become the site of play and study in this (eventual) two-channel film.
1
GRAPE STREET
Repetition as ritual. Twelve unscripted scenes recorded over the span of nine years. Glimpses of butterflies, paper planes and neverending change. The sound of feet scraping against dry ground, car alarms and church music on a late Sunday afternoon. Life continuing its endless dance in the fissures of observation. What is absent becomes all the more present.
5
THE BEND
Within a fraught environment the artist’s friends depicted in this publication established their own safe-zone. Through their ritual presence, the group turned an inconspicuous street corner into their post-work gathering spot, thereby attesting to the necessity of claiming one’s own space. Darkness fended off by laughter, care and friendship until the death of our friend Ricky transformed the locale into a memorial site. Today, proudly carrying his name, a street sign mounted high on the corner’s main lamp post declares the importance he continues to hold within the community. We on Ricky’s Way now.
6
RICKY’S WAY
Ricky’s Way is a two-channel film shot over the course of two weekends in early 2020 and 2022. It captures moments large and small, loud and quiet, unfolding on the very locale that already served as a stage in the publication “The Bend”. Here, too, after the sudden loss of Ricky the film turned into a meditation on the influence he exuded on everyone around him and the notion of filmmaking as a powerful tool to (re)activate a community.
3
ARCHIVE
Several thousand photographs, taken between 2017 and 2026, are brought together in a publication printed in an edition of six – the number of households that make up this family spanning an entire ocean. During the exhibition the books are only displayed as enclosed objects, rendering their content entirely inaccessible to anyone but the family. The walls of the exhibition space however present the archive in its entirety, displaying the contact prints of the hundreds of 35mm film rolls that were shot during the span of ten years.