ARPRIM (2014)

In 2012, I printed a series of text-based offset posters, dusted with toner, that I placed in public spaces. The series includes: la fin, love lost, love is madness and love is bondage. Unlike graffiti, there is impermanence to these posters, as they are glued onto surfaces, and with time, weather away, not leaving any traces of their existence. Meanwhile, there is a dialog that is created with the public, both unknown and shared (some of the posters have been vandalized with writing and/or tearing). The posters break down the idea of words and create instability. “Writing contaminates; writing leaves its trace, a trace beyond the life of the body. … writing promises immortality, or at least the immortality of the material world in contrast to the mortality of the body. … writing gives us a device for inscribing space, for inscribing nature: the lovers’ names carved in bark, the slogans on the bridge, and the strangely uniform and idiosyncratic hand that has tattooed the subway serves to caption the world, defining and commenting upon the configurations we choose to textualize.” (Susan Stewart, On Longing: Narratives of the Miniature, the Gigantic, the Souvenir, the Collection, p. 31.) The posters also investigate notions of private and public boundaries. These boundaries were further enlarged when I decided to tattoo some of the text onto my arm.