at; the wayside

installation view, at; the wayside, mixed media installation, 2025

one a.m. on شارع عبدالمجيد الرمالي (or the three-body problem), sculpture of cut steel barriers and coat pocket made of copper wire, 8x2’, 2025

detail view, one a.m. on شارع عبدالمجيد الرمالي (or the three-body problem), 2025

side view, one a.m. on شارع عبدالمجيد الرمالي (or the three-body problem), 2025

(or the cut is not quite a point), one of three abrasion holography etchings of photograms on copper, 36x24”, 2025

(or the cut is not quite a point), one of three abrasion holography etchings of photograms on copper, 36x24”, 2025

detail view, (or the cut is not quite a point), 2025

(or points are just almost arcs), one of two abrasion holography etchings of poetry on steel, 48x24”, 2025

(or points are just almost arcs), one of two abrasion holography etchings of poetry on steel, 48x24”, 2025

detail view, (or points are just almost arcs), 2025

installation view, at; the wayside, mixed media installation, 2025

(or phosphenes from the hip), 16mm single channel video featuring abstracted belly dancing performance by M. Mohie, projected onto unbleached muslin, 9 mins, 2025

(or reverse viewfinder), sculpture of lens covering used for single channel video, placed over the camera strapped to M. Mohie’s hip, 5x2”, 2025

detail view, (or reverse viewfinder), 2025

(or the still moving), 2.1 channel sound of bass, breathing, murmuring heartbeats, metal, the coins of a bellydancing belt, rubbing on the mic, and vibrating copper wire, 9 mins, 2025

installation view, at; the wayside, mixed media installation, 2025

image, text, sound; copper, steel, wool

the cut as an arc; as a haptically charged orientation
stuck within, yet against; as an ephemeral, electrical
spark, jolt; as a murmuring syncopation entered into hip first

it began from a night in downtown cairo, the material
traces of flirtatious whispering; a guise of interlocking
arms; gripped hands shrouded in a coat pocket; the
naively indifferent gaze of the police
officer we walked by;

and the wake of this friend’s passing

the matter of touch to shadow and light; to the void
and the particle; to the space and time of state necropolitics;

to the contaminated indeterminacy of queerness as
frictional political ontology; as abrasive affects vibrating
at the wayside of the visible; the
perceptible; the humanized;

back to installation

darren spirk

about installation still moving writing