Tunnel Travels

Triptych
42 x 29.7 cm, 42 x 29.7 cm, 29.7 x 21 cm
Prints in vintage frames

Price on application


SUPPER
A curtain allows us not strange but not aligned. Allowance is what not because what not is carrot is not angry. Continued like that place that found reappearance is a palace. Palace is only appeared at noon. Such fortune saggy gag gaffer.

HERO
A squared male concerning treat crab the families. Pigged closure and nobility and facilities.

SPAR
All mammals apply. Answer reward accident necklace cackle happy fib and robot. Strawn from above none shall be gained. No braking what all is gained. Place gold water taps produce such thick human liar. Because of taps unclean products are presented inconsistently and collect. This represents a dumb one because shyness hides he hides he hind bee hives. Whipping gets aliens nowhere.

ABA
Playing tennis there important. Splashing inspections by the blacksmith are originally a cover. What is he doing pet insect?

MOTOR
Roll on blanket. Float that sweater sweet charring rubies in your wood. A house and a bird all mean the same thing like someone in a chair. All is good good inspire however things that people hate aren’t inspired. Why are rooms so clean? Because of living vacuums who are asparagus lions. Ear a lot. Getting it. Stop.

AIR
Bonk.

TICKLE
Angles on bubbles are one of a sort. Choose it all over. Choose it all over. Revitalise arousals a round sound and curvature is necessary. Ring guitar planet half knees far far away away long murder. Pricked and specked dropped and bogged slam that marine. Ink on laughter chain it a difficulty, bowl. Backwards is certainly an eye.
Fog is stuck, fog is stuck.
Glorious keepings of monstrous balls. All of this is not an opposite.

SECRETS ON CONCRETE
If because similarly and purely confessions can cement an object all fall forts are compasses. Sister bore trips are now conspicuous. It is believed to the extended effect. This fact is a known non wreak noble knob on drugs. Priority and proctor alike able and felt buttons. Every day is a thumb reason. Why are it forged on a screen and what girl is a sister. Well it is believed to the extended effect. Alarm and forts are compasses but not conspicuous.

A REST
On hot days other people haven’t sniggered. Up and took anxious two people and everyone finished their tests. Of last left the shed on one watched seat. There were exclamations there and the teacher was the type of pick. He did mind not even.

CUPBOARD
A slant is not wooden but projected. Isn’t what’s there gone along with the cats and bare digs. All of far corn and swinging are certainly not allowed and because of this it only permits sleeping. An art is not an activity but only ideas and banana doctors. All doctors care but a banana doctor is a turtle breeder and a stinky pleaser.
Also proportion is not a slamming shout but a determined pineapple. A sticky interlude on the highway not a sign of slyness nor trees nor bumblebees. Hidden slops are seen only by some because alloy is the present for a similar cold. Hidden sticky interfaced slops in a cupboard.

EXIT BEARS
What is a proud institution is not a profound solution. Ecstasy is always for it and with that is a ring less an object. Singing with it all is crazy and grunge and instantly the telephone pencil couscous. Escalation in all cases link to an owl that needs to be felt branches core with ring less less than an object.
What is a proud institution is not a profound solution.

STOLEN SHOES
Advancement in space allows arguments and idiocy in a single day and because of this, gargoyle. Picked right from above, thieves and grievers are potential answers because of believers, because of teachers, because of preachers and sticky and grimy sneakers and contrast chorizo and binge feelers and mountainous modesty and most of all and all of all, nothing. Work is work and work is a comb. A comb is a comb and a comb is rubble. Rubble is rubble and rubble is a lamb splinter with strawberry seeds and a pericope’s prey. This is a good reason to have gothic events because they are just there. Animals cry at night all of them are not spontaneous for a specific reason. Can you hear a spotted crab I don’t fart trust them heavily and they kill everyone that has a particular preference of sorts.
Words of all natures cannot be truths. Why is this so? Because of effect a hoe and horse recede. Youth nature not lamb bug and not a lump gum. All allowances primary turn bulldog pint at a pineapple and then of course the result is a pickled grape bug. Not all is necessary but all is aloof for crying loud out is high horse getting an appearance at all. Mailbox and a box and socks before the lock fit, kit, kitten, kitten-alien-Neanderthal bounce around until a bog.

STALL
Cursive, ambiguous, solitude. Here lies a goggle with a sock knowing its know, knowing its nose. Thought a care and broken plates hang from the wall sewing its place amongst a furniture. Slow and rest sticky amongst convention transparent places are empty and sterile. Apple cork in a tuna can confuse all music and all tropics from their independence because of a single dot. A single dot dotted on a pot which refuses to paint its manikin falsity. Tremble and rumble, cool and run away bounce along young squirrel immunity. Connectives alarm turns and runs that slip on its salty fat flat funk for forms like an ankle hubbub. Clearly a clink can cause catastrophe holding a red panel demanding a halting crumble ruin continuation.

Artist statement

In its original form, Tunnel Travels was a 5-page automatic piece of poetry I wrote when I was sixteen. At the time, I was obsessed with Gertrude Stein’s Tender Buttons because of its utter disregard for the conventions of language.

As a teenager, I did not know how to use language to process and communicate my feelings. This made me feel unseen and unheard by the world around me. I felt isolated and sad, and I believed that the world ultimately had no meaning.

It was liberating then to think that, like Stein, I could break the very tool of representation that claimed the authority of awarding meaning. Because I felt that language had failed me, it was a beautiful thing to see that it could be destroyed; how that in its essence, it was simply absurd and random.

As a sixteen year old, I had surrendered to this idea and I thought that everything I was writing in Tunnel Travels was purely random and nonsensical. But in returning to the text ten years later, I no longer feel that this is the case. I now think that there is actually meaning within this text, and that my 16 year old self was not being absurd and nonsensical, but rather secretly stashing feelings of fear, joy, and anxiety. Tunnel Travels was in fact an outlet that could safely stow those feelings without drawing the attention of concerned adults and friends.

In revisiting Tunnel Travels, I wanted to uncover what lay hidden in the original text. I wanted to ask: what was I thinking about as a sixteen year old? What was I working through? What was I becoming, navigating, and questioning? How was I learning to be? What external forces around me were teaching me to be? How was I interacting with and absorbing the world around me? How was I making sense of the world as a teenager?

It is only because I feel differently about the force of language that I can begin to ask such questions. I submit to its textures, I grant it meaning. In Tunnel Travels, I discover how some of the language it holds is extremely rich and inspiring – that it’s full of emotion, meaning, and insight into what I was thinking and feeling ten years ago. In blacking out parts of the original text, I hope to make a once seemingly obscure text legible.