Artist as Mangrove is an organic assemblage, moving rhizomically between ideas and analysis; drawing from key readings undertaken throughout this year, and embodied responses to these readings, written in conjunction with the artist and the Mangrove as subject.

The different sections of this essay are seeds to be sown, fostered and grown; shoots, leaves, branches and roots. They form a fungal cross-pollinated network, spores from one space and time to the next. They can be read separately or together, ordered or freely; representing  a duality of writing and practice, reflecting both the physical and spectral subject of artist and mangrove. They move the reader between different states of experience and understanding, an interplay between idea and response, thinking and being.

Mangrove is She, or Her, an entity in her own right. I want to force the reader to engage with other subjectivities as equals, and disrupting the euro-centric and colonial objectification of nature.

“A feminine textual body is recognized by the fact that it is always endless, without ending… There’s no clo­sure, it doesn’t stop.” – Hélène Cixous[1]

I reject the idea of a complete writing or work, following Lyn Hejinian’s The Rejection of Closure, “Conjunction of form with radical openness may be what can offer a version of the “paradise” for which writ­ing often yearns—a flowering focus on a distinct infinity.”[2]My practice is fluid, ideas are started and left, changed, only to begin another. I regard the individual as part of a larger whole. She, as body of land and water is not finite, and can never be closed. So too, my cartography of Her is never complete. This text is a facet, one root in a larger system of what is discovered, and what has yet to be.

[1]Hejinian, Lyn. "The Rejection of Closure by Lyn Hejinian." Poetry Foundation. October 13, 2009.
[2]Hejinian, Lyn. "The Rejection of Closure by Lyn Hejinian." Poetry Foundation. October 13, 2009.