In Migrations (2015-2017) I look deeply at the arcana of The Hanged Man. I was struck by Carl Jung’s own shorthand description of this archetype: “Turning back [enantiodromia], powerless, sacrifice, test, proof. Face against the sky.” The popular understanding of the trump, which includes models of sacrifice, suspension, conformism, and new points of view, proves a landscape rich in cultural metaphors. Video, performance, photography, painting, and bookmaking are some of the studio actions represented in Migrations.
The root imagery for this trump originates from pittura infamante, a genre of defamatory painting displayed in public centers as a form of shaming and punishment for traitors that addresses the dislocation of the self through corporeal and social punishment. It’s especially resonant given my family history and early childhood experiences as a political refugee.
Border Crossing (The Mirror) Photograph w Salt 19″h x 13″w
Pittura Infamante (diptych) Photograph 19″h x 13″w
Border Crossing (Nightshade) Photograph 19″h x 13″w