Parrots Of Erotic Weather
 The Hearing of Linda Taylor (1981-2017)
 Inside His Hat There is a Host
 Revenge Poem
 Cloak of Earthly Objects
 Shy World
   We Are Lesion
       Video
       Children's Chorus
       Installation & Banners
       Stills from Mock-Protest
       Haunted Writing, Body Snatching, and Love

 Im A Ballad

 Writing
 Info












"We are your punks, the literary avant-garde
Holding no leadership and no membership card
We let differences deepen at the base
And we don’t wait for power to be sent down through mace
We enter pop culture harboring a false authors trace
Our cuteness is soured by the blood in our fiction tastes"

- From We Are Lesion (Children's Chorus);
story board illustrated by Zach Janson




2015



We Are Lesion; A Socio-Political Fairy Tale is a reproduction of gospel being rehearsed by a children’s acting troupe. The child actors are laboring towards the final scene of their play, a terminal act of violence against the former US president Ronald Reagan, however, the act has yet to be performed. The exhibition stops at the precipice of the assassination of an esteemed political figure. Like a sham lesion, or the placebo procedure that duplicates all the steps of a brain lesion except for the one that actually causes the brain damage, the exhibition is a documentation of the rehearsal and peer review that occurs before the damage.

Like the children, tweens, and teens that perform in it, the play exists on the verge of establishment, caught in the midst of a bipolar politics obsessed with choosing which hand will rule the other for the next presidential term. The defeated party is forced to seek out alternative mythologies, temporarily joining children in fantasy, where like children, their feelings don’t exist yet.

We allow the child to be irresponsible, impressionable, and openly schizophrenic, they promise possibility while imposing a limit or absolute taboo. The essential child, appears alongside or at the head of the train of blind, deaf or mute subjects whose implications for subjectivity and sheer humanness provoke crisis. Eventually, these children are pressed into service, donating their bodies to an ideological system whose violence is embedded in the everyday. Cornered by cultural demands, the child is consumed into a political organism that is at once savaging and civilizing.

The play offers an alternative, like the child or a work of fan fiction the script is indecisive and incomplete, remaining in a constant state of rehearsal and peer review. However at the moment the characters assimilate into a political frontier their bodies are released to the public, offering a politics for the people. The play ends as the multitude is unleashed to perform, construct, and proliferate its own political mythologies, in an emergent environment.

“So, we have feelings, now what?
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Featuring

Students from The Arts & Ideas Sudbury School in Baltimore, MD

Exhibited at

Terrault Contemporary, with VISA