I think making work is like reading a book and writing it at the same time.
(Or maybe hiding money from yourself.)
There is the necessary trust that the reader will make sense of it. (It is, after all, you.) If you edit too soon, there is no vapor – only nothing. Your mistakes are shining coat hooks. Signatures in Scar tissue.
There is a necessary fascination with what secrets the writer will tell. (They are, after all, yours.) Don’t let it go on too long. Overwound, it’s a dead watch – no hopes of turning left for another undoing.
The pudding is in the middle...In the sparring between these awkward pairings: reader/writer, trust/fascination, logic/secrets.
Make the strange mark. Dark, so you have to work hard to erase it. This scrubbing ghost is your own(ed) steam.
Artist Bio / CV
George Ferrandi lives and works in Brooklyn, New York. Originally from Baltimore, she studied sculpture at Virginia Commonwealth University, Ohio State University and Skowhegan School of Painting and Sculpture.
She was the founding member of the touring performance project, “Cloud Seeding: Circus of the Performative Object” and the Vice President of Operations of the City Reliquary Museum.
Her work has been performed and/or exhibited around the United States at Columbia University in New York, the Kitchen in New York, Cinders Gallery in Brooklyn, Good/Bad Artists Collective in Brooklyn, the Museo Italo-Americano in San Francisco, the Wexner Center in Colombus, the MacKinney Contemporary in Dallas and the Bower Gallery in San Antonio. She was a 2001 Franklin Furnace Fundwinner for Performance Art and has a day job restoring statues of saints for churches.Regarding her work, Holland Cotter of the New York Times said that she is "quietly rethinking what art looks like or does", which was an enormous compliment at the time, but now feels like an awful lot of pressure.