Work Journal


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I. February 2020
One of the hardest parts of being an artist who for the most part works by themselves is that oftentimes thoughts that seem fully fleshed out and full of nuance––at least in one’s internal space––become difficult to pin down concretely, let alone verbalize in any coherent way. Part of this is the lack of a need to make those conceptual thought processes intelligible to others; after all, one would hope for those concepts to end up crystallized in the work without needing to be expressly stated. I would agree that it would be infinitely better for a piece of music or performance to do whatever it is it is looking to do without the artist needing to append reams of explanatory babble, a practice which can often serve as a justificatory crutch for an artistic expression lacking in some way. But, I’d be equally wary of a practice that leans too far in the other direction, that treats its object as self-explanatory, self-evident, and self-sufficient. A healthy degree of theoretical thought is needed to account for the myriad ways in which what we do––be it music, performance, installation work, visual art––is