Practice is the daily ‘work’ (as verb) of art. It represents the sum of all the moves – practical, conceptual, affective, cognitive, philosophical, analytical and aesthetic – that occupies/de-occupies the state of our triangulation at any given point of time. Being contingent, this practice is a shape-shifting thing, prone to surprise itself as much it surprises others. Like a mycelial inhabitation, indeterminate and unbounded, it expands.
In Rewriting On the Wall, hand-prints are reconfigured to produce an alphabet of gestures—each a gloss of the letters in standard American Sign Language as used by deaf and mute people. The letters add up to a text (which accompanies the work): a stammering, hesitant, syntactically unsure consideration (written by a hand that appears on the wall like the hand that wrote on the wall in the episode of Belshazzar’s feast in the Old Testament) of the relationship between ‘I’ and ‘We’ and the horizon that encompasses singular and plural modes of being.
