IDENTITIES december 1997 / planet of the arts 31 aT Bo korangebl we . Fairy Tale of Collaboration ( passing ) by Hadley Steve The Decision to Collaborate meet again. It is 3 years since a first brief the the Foundation Scholarship extravaganza. meeting at installation of Key Words (see A) come out and I are knowing that I are working together. Collaboration Class gets cancelled (I am both enrolled) (that’s a long story too and something to complain about). Why is the Collaboration class cancelled? Ominous maybe for people like me who work together. But being recognized is not the issue. The decision to collaborate is there with or without institutional structure or support. Starting Work The beginning is talking intensely personal [imag- ine conversation here], hours of assessing per- spectives. I are identifying and developing identi- ty through narrative (experience) (body). I are beginning to tind words for things that were clos- eted. : I are both wanting to work with skin. In talk it comes to light all the things skin is, what are the motivations behind this idea for material. The motivations begin the work. There is an image, then there is text. And the text falls on top of the image. The Process Always when I work together it is conversation, the decisions happen the way a conversation does when a person says “that’s it!” and a moment hap- pens where all people in the conversation feel friendly about having completed a circle of some- thing. And I have always worked things out by being able to verbalize with someone else to sort it and expand it, so it makes sense that I should work this way. And there are things I let go to hear my Hadley Steve, Untitled. 1997. Silkscreen. thoughts through. The structure of my heads to hands to feet is informed by my all too present love of the whole. And why not? Navigation is easier even at the slightest suggestion of one left turn and it’s going to (Mexico) or (New York). But who cares because I’re always somewhere worth being. I get off on each other. I think so fast and it’s because I have more time to hear the echoes off my heads, I can see the way I think, everything twice but more because it’s not quite the same but beautifully familiar. [as I type | are being fed] Intimacy in Collaboration (and the question of ownership) I are kinky. I don’t really care to know which are my feelings and thoughts when all I hear sounds good anyway and my voices are heard. The problem might be to become too insular, because I make so much sense to myselves. But isn’t that the same problem when I’m working alone? And together I have a constant critiquing partner. I trust each other enough to say “that’s stoopid” when it’s stoopid. Or maybe not so mean. But I seem to know so much about each other that this mistake is the same one I would make, or it’s nothing compared to the life-mistake that was big- ger. I are tough individuals. The Work ..Which becomes the work. Because the owner- ship is ambiguous, the voice is ambiguous, the clichés become ambiguous, gender, objects, images...it is this ambiguity that I are trying to find and portray and suggest. All within a totalizing language that I understand of this and that and all too clear connotation. The way I work is the way I want my work to be. I want it to be a floating space, an option space, for people like me who don’t feel right in the first two options (because Pat pores em ee oth, he/she met her work (3 days Luis) critical masculinities male lesbia: feminism * Foucault process: R&D Quee&theory talk sey Holzer & smokes confessor/validator text image quick results now slower productivity (energy) fi so many ideas!!!! colfaboration as political ’ 2 geniuses better than awareness of: non-linear Lit visibility movement non-linear ideritity smoking doing it in public support access it’s often two isn’t it?). And if you feel solid, not floating, why do you feel solid? I are interested in that — why I might float and you feel solid. This leads me to talk about my bodies. It’s dif- ficult because limbs are just beautiful machinery and I have become sensitive to experiencing the otherness that was restricted by tires and graters and lipstick and pinkorangeblue. I want my limbs to be more supple than the Modernist body, my ideas more free to play with your ideas. My bod- ies... I have some (sum) of two kinds. Who is the artist analogy of the male lesbian? Xe? - image text skins objects reading (sharing articles} critiques (more) = power dynamii : AR pushing) limitations language entrance into different spaces freedom of whatever WORK anything that moves - sav pod 1Yy3tiq similar language similar experience art theory gives me a hard-on) similar line difference So... If L use only 5% of my brain, then the 190% of just being there is engulfed in tires and graters and lip- stick and pinkorangeblue, the experience of the social body. As I work, even as I write this, I are constant- ly amazed, happily surprised, at the fluidity. An energy that seems to have no beginning or instiga- tor, creation without ownership of the seminal moment. I are spooky.! IDENTITIES december 1997 / plonet of the orts 31 Pinkorangeblue A Fairy Tale of Collaboration by Hadley Steve The Decision to Collaborate meet agin, It is 3 years since a fit brief Imeeting. at the installation of the Foundation Scholarship extravaganza d 1 ae Key Words (See A) come out a Knowing that 1 are working together Collaboration Class gets canceled (I am both nll) (that’s long story too and something 10 complain about). Why is the Collaboration class cancelled? Ominous maybe for people ike me who work together. But being recognized is not the issue. The decison to collaborate i there with ‘or without institutional structure or suppor. Starting Work ‘The beginning is talking intensely personal mag Ine conversation here), hours of assessing pet spetives. are identifying and developing ident ty through narrative (experience) (body). 1 are beginning to find words fr things that were clos ted are both wanting to work with ki. In alk it comes to light all the things skin is, what are the ‘motivations behind this idea for msterial. The motivations begin the work. Ther isan image, then there is text. And the text fall on tp of the image ‘The Process Always when I work together it is conversation, the decisions happen the way conversation does and a moment hap pens where all people in the conversation feel when person says “that's friendly about having completed a circle of some thing. And I have always worked things out by ‘being able to verbalize with someone else 1 sort it and expand it so it makes sense that I should work this way. ‘And there are things I let go to hear my Hadley Steve, Untitled. 1997. Silkscreen thoughts through, The strctare of my heads to hands to fet is informed by my’ all 100 present love of the whole. And why not? Navigation is caser even atthe slightest suggestion of one lft tum and it's going to (Mexico) or (New York). But who cares because Ire always somewhere worth being. 1 gt off on cach other because Ihave more time to hear the echoes off ink so Fst and it's amy heads, I ean sce the way I think, everything tice but more Because is not quite the same but bestilly familia [as /1pe 1 are Being fo} Intimacy in Collaboration (and the question of ownership) Tare kink. 1 don't relly eae to know which are my feelings and thoughts when all [hear sounds 00d anyway and my voices are hear The problem might be to become 100 insular, tbcatse I make so much sense to myseves. But {isn't thatthe same problem when I'm working lone? And together I have a constant eriuing pare rst each other enough to say “that’s stoopid” when is stoopid, Or maybe not so mean, But I seem t0 know so much about eachother that this mistake isthe same one I would make, oF i's nothing compare tothe lie ‘get Lare tough individuals. stake that was big The Work which becomes the work. Because the owner: ship is ambiguous, the voice is ambiguous, the clichés become ambiguous, gender. objects, images..itis this ambiguity that ae trying to find and poray and suggest. All within a totaling Tanguage tat I understand ofthis and that and all too clear connotation. The way T work isthe way [want my work to be. I want tt be a oating space, an option space, for people like me who don't fee right i the fst wo options (because t SEK,¥ = on Pov i 4 =, ie 3 its often two isnt it). And if you fel solid, not floating, why do you fee! solid? Tare interested in ‘that ~ why T might oat and you fee solid This leads me to tak about my bodies. I's i ficult because limbs are jst beautifl machinery and I ave become sensitive to experiencing the ‘otherness that was restricted by ties and graters and lipstick and pinkorangeblv. I want my limbs tbe more supple than the Modernist body, my ideas more fre to play with you ideas. My bod have some (sum) of two kinds. Who isthe nist analogy ofthe male lesbian? IrTuse only $5 of my bra, then the 1905 of just ‘boeing there is engulfed i tres and raters and sick and pinkorangeblv, the experience of the social body [As I work, even a write this, fae constant ly amazed, happily surprised, at the Mity. An ‘nergy that seems to have no beginning or instig tor, creation without ownership of the seminal Tare spooky.