“Virginia Woolf’s amazing essay ‘On Being Ill’—where she interrogates literature’s lack of focus on illness, the collective obsession with the drama of romance over the drama of often inseparable physical and mental ailments—has been a jumping off point. So, I’m writing though some of my own experiences via Woolf and also some other artists and writers.”
“Movement is just another language used to convey an emotional experience or fantasy. There are many things your body is capable of that you are not exactly consciously aware of and Gaga in particular allows you to continually surprise yourself because of its non-structure. The most satisfying discoveries for me are when through movement I find how to articulate something I cannot accurately put into words.”
“It seems to me that there are only two essential things we bring to our creative work: our tools–language or fabric or paper–and the truth of our own experience, our own psychic realities. For years, I tried to write in traditional narrative forms, but I struggled with moving a plot forward in time. As much as I wanted a kind of cohesive linearity, it was not something I could do. Both the truth of my experience–which is living between places and with rupture–and what I am interested in aesthetically is about resisting boundaries and creating some kind of meaning out of chaos, from fragments.”
“There are often regulations of this sort for mechanical looms, as repeating yardage is an important economical component of the textile industry. But don’t those regulations sound like a writing prompt to you? It certainly did to me. The loom demands particular metrics, which one could also see applying to poetic form. Opportunities for the inter-poetics of writing and weaving have continued to reveal themselves so long as I’ve continued to seek them out.”
“It feels impossible to talk about race or other kinds of difference,” wrote Roxane Gay recently in the New York Times Sunday Review. “But if we don’t have difficult conversations, we will be able to reconcile neither this country’s racist past nor racist present.” This is a refrain we read and hear so often these days, and yet, the conversations remain hard in coming. Faheem Majeed, in his first solo show at the Museum of Contemporary Art in Chicago this year, is a notable example of conversation between artist, curator, and museum institution that seeks to expand that conversation with a wider viewing public.