writing
[to request copies of unpublished work please email slowosmosis@gmail.com]
On Intimacy / The Shape, Density and Velocity of a Wet Kiss
essay, read at ADULT ENTERTAINMENT, Berlin, 4th July 2025; featured in A Bright Darkness: Fugitivity and Intimacy in the Dark Forest - A Seminar Reader, March 2025
Crisis of Representation
booklet, companion text to The Joys at Aktionshaus, Berlin, Summer 2025
No One’s Lady of Tears
exhibition text for Maria Wallace’s The Protagonist at Obelus, Berlin, May 2025
Politics in the Closet
script, part of If Tomorrow’s Sun Finds You Within My Boundaries on view at Obelus 2, Berlin, 26 April—17 May 2025
Five people lock themselves up in a closet to get sober, forget the world and experience total darkness.
The Fetish Diagram
diagram, designed in collaboration with Myour Gape
Driven by the illusion of its positivity, civil society unfolds as a space chartered in the relationship between liberty and property. However, to understand liberty in terms of property is to irremediably dwell within an atrophic dimension of fetishism.
Bad Gateway
exhibition text for Henri Haake’s Bad Gateway at Obelus, Berlin, November 2024
Mea, Precious Angel: Provocations Toward a Modularity of the Abyss
book, 50 pages, cellulose, printed by the artist in edition of 50 in Berlin, DE, May 2024
The companion text to Ciarrocca’s exhibition Until This I Mean This, Mea is an experiment in falling disguised as an attempt to fly. Drawing on the notion of the erotic articulated by Audre Lorde in her seminal 1978 speech Uses of the Erotic, the text is a psychotic presentation-speech by angel Mea Dow introducing ‘the limic:’ a further, undefining feeling of deep erotism. The limic pervades a kind of extreme indulgence in the lush and rampant space—the limit—flourishing between two whose individuation and identification are suspended. In the narrative, identification and identity are understood in connection to their shared Latin root, idem, meaning 'sameness', standing in contrast to the unbridled diversity of experience. The text weaves together a tapestry of references from academic sources to poetry and literature, eventually linking the logic of the limit to ‘the alcove’, tracing back objectification to the intimate, (I)ndividual realm of daily life. Mea's conclusion is unforgiving: that dimension whereby the unknown is casted into nothingness—the abyss, is modular, meaning, essentially a-semantic: it originates within a subjectual intimacy antecedent to and more profound than discoursive categories such as gender, race, sexuality, religion, or economic class. The text playfully experiments with a contemporary reimagination of the “pasquinata tragica” form, a public and provocative mode of institutional critique original of early medieval Rome.
To Kiss on a Battlefied, Act 1: texts (p. 17-31)
book, 54 pages, alternate cellulose and transparent vellum, printed by the artist in single edition in Los Angeles, CA, USA, Summer 2023
Loose exegesis of To Kiss on a Battlefied, Act 1
A CROSS POETICS [selected writings 2022-2023]
book, 44 pages, alternate cellulose and transparent vellum, originally assembled for CalArts MFA Open Studios, April 2023, printed by the artist in single edition in Los Angeles, CA, USA, Spring 2023
Untitled
poem, 37 pages, cellulose, originally exhibited in Untitled (2022), Gallery D300, California Institute of the Arts, printed in single edition by the artist in Los Angeles, CA, USA, January 2022