Weaving as an Argument
in conversation with Mosa Molapo
You have said before that the work begins with a floor. Not an image, a floor.
A floor is already a record. People have walked it, worn it down in particular places. You do not have to invent the composition, it has been made by movement over years, and I am reading it back.
That is a very passive account of authorship for someone who works this hard.
It is not passive. Reading is not passive. But I do think there is a vanity in acting as though nothing was there before you arrived. Something was always there.
You do not have to invent the composition. It was made by movement, over years.
Does the labour matter to you as content, or only as means?
It matters and it does not photograph, which is a problem for how the work travels. A photograph gives you the pattern in a second. The thing took months. I have made a kind of peace with that gap, but it is a gap.