A blood rite/ mourning ritual/gift ceremony for tomorrow & tomorrow. JD uses a pencil and a needle in a distributed ink drawing practice that takes place between bodies in a space of mutual exchange. The custodian of each drawing makes the first sketch in words as part of a conversation process where narratives are shared and compared, and where the groundwork is laid in language for making a meaningful ritual. Finally, the image is etched in ink on the body, where it will stay - on the cellular level at least - until the death of that body and beyond. The practice is a way of manifesting networked kinship in precarious times; it is also an attempt to contain the accumulated trauma of a life through externalising scar tissue as a badge of what we have already survived. Above all it is a 'despite-everything' gesture of defiance to death (of physical bodies, community and communities), commoditisation, pointless posterity, monolithic art praxes that echo the totality of state sovereignty, and a way to embrace the inevitable, together.
I aim to explore human loneliness and the deep desire for an emotional interspecies connection; be it with AI, other civilizations in the universe, wild animals, or nature. I am fascinated by the human projection towards AI and other digital imaginary products, which raises complex questions of morality, ethics, love, and how we adjust inter-human relationships to the ones we create with technologies. I believe that this longing to connect with non-human species translates into a fundamental disappointment in the possibility to fully understand each other. This assumption led me to research human and animal captivity, its visual, economical, and bodily consumption, and the morbid curiosity we hold for the natural world. However, this strong emotional experience we are so desperately seeking - which nowadays is rarely possible at a deeper level or in free will - requires controlling and dominating the bodies involved. Our mundane existence - unconsciously perceived as a form of captivity - becomes even more intense and visualized in digital culture. Artificial environments such as zoos and space ships convey a vigorous tension between the desire to connect and captivity in its essence. Is it possible to perceive our existence as an essential part of nature without applying dominance or prediction? Perhaps our deep fascination in nature and wild animals is in a way caused by an unconscious expectation of our own future escape? And perhaps the vast human desire to control - politically, spiritually and corporeally - is, after all, rooted in a deep existential fear?