黑料不打烊

There is an impossibility inherent in the act of returning 鈥� to something, or someone, to an event, or even to one鈥檚 own self. Time produces change, if even merely in the position of the object in space as the Earth rotates on its own axis within its orbit. Even in the act of remembering, memory is altered with each recall. How, then, to preserve whole truths? Traces provide a reference point, an evidence of existence, a resonance. In fire is love, water is sorrow 鈥� a distant fire, the work of Azza El Siddique and Teto Elsiddique explores the energies generated by engagements with objects that add history and intrigue. Teto鈥檚 work playfully considers possible interpretations and new juxtapositions, while Azza 鈥� with a Janus-like focus on both past and future 鈥� engages in a close study to maintain, converse with, coax, and reproduce both Teto鈥檚 productions and hers.

鈥淩econfigured pasts and possible futures are drawn,鈥� Teto writes in an artist statement for the Rema Hort Mann Foundation. 鈥淚t is in this improvisational, contingent space between the two that my work so singularly points.鈥� The liminal spaces 鈥� negative, outlines, and otherwise 鈥� whisper potential and possibility. In the opening sentence of his statement, Teto references the index as suggesting 鈥渁 kind of connective tissue through history.鈥� His work鈥檚 preoccupation with resonance, histories, and the grammar of objects is on full display here, as Azza extends these themes into her engagements with Teto鈥檚 work that still 鈥渞esonate[s] with traces of a still-trembling past.鈥� 

But back to the transmutation of memory into our contemporaneous present. Azza鈥檚 dexterity with the immaterial is visible in her work with and through shadows and spaces between layers and objects, reflecting a comfort and fluency with the shape of the gaps between. This dexterity is apparent in her extension of the work into machine learning, which she informs through virtual and material source objects.