












Coil
Memory Palace
I
To give substance to that to which we cannot be present. Intransitive, that is, acting without object, I merely “remember,” the gesture a substitute for its target; in transit, or, “a matter of course.” The heart has two doors but no address, and my cheeks bear a flush, taking exit for entrance. Orbiting, elliptical: coming close then recoiling, drawing back and drawing over again the same helical strand; writing to right a genealogy that at no point arrives but extends in opposing directions indefinitely.
II
There is a suspicion that life could be a dream, the logic of a copy with no original. Air between rungs, shades cast by the form that remains unseen, that ambivalence with which we number our days. Nailing the calendar to the wall and crossing the vacant space as if to say: it was.
III
By way of anecdote: in the otherwise barren plaza, a marble column stands, communicating less the victory of architecture over time than a delicate and bizarrely personal fortitude that makes me weep and turn, wishing it reconciled with obsolescence. Only in the square thoroughly empty are we granted the vision of a civilisation whole, peopled, dimensional if ephemeral. Diamondesque: the powder pressed beneath our feet. So fine we cannot capture its riches.
Text By Paris J. B. Reid
Room 3557, Los Angeles
March 2024
  
A Series Of Positions
Land scars and markers (where I’m from)
Inkjet prints on paper : 45x35” / 5x7” / 11x14” / 11x14”
Wood sculptures : 25.5”x26.5”x25” / 16”x21.75”x39”
 
Leubsdorf Gallery, New York City
BFA Thesis Show: Trick Hat 2021
 
The Right Handed Liar
If you ask a right handed liar a question (something you know he’ll remember)
the color of his last bike or the route he took to get to work today
he’ll tilt his head to the right as he searches for the memory.  
If you ask the right handed liar a question (something he is hiding)
where he went after work the other night or the origin of that stain 
he’ll tilt his head to the left as he makes it up.
Inkjet on paper
16.75"x11.25" & 7.5"x8" framed
Sebastian Gladstone x Marta Gallery Los Angeles
December 2021
A Divine Prank
Years ago, I etched eight words onto eight glass bottles: alcohol, tears, blood, semen, time, memory, gratitude, & song.  Words from a poem by Anne Carson.  I liked the idea of liquid time, something I could drink, smell, piss out.  I was having trouble with alcohol and these words seemed key to my addiction.  When I moved across the country I shipped the bottles, carefully wrapping each of them in layers of plastic padding.  But when I opened the box upon its arrival, alcohol ,tears, blood & semen had shattered and only these last four arrived intact.
Published by Spectra Poets 12.05.22 https://spectrapoets.org/Divine-Prank-by-Kellie-Jones
House Series
Installation Photo from 11:11 : group show curated by Omari Douglin 2020
At Peace Gallery, Brooklyn
https://brooklynrail.org/2021/02/artseen/1111