STATEMENT OF WORK

Love is not a concept, but a state of being rooted in actions of attention and care.
Contextual subjectivity is a coping mechanism.
Vibrant matter is absolute and what is absolute inherently suggests we let it go.
Every eye roll is a rainbow and every color is a flight path.
Each work is the instantaneous apprehension of a multiplicity.
Making is a form of prayer.
Making is a valve for my anger, exhaustion, frustration, fear, and ultimate affection toward life.
We must make calendars out of rotting pumpkins when the world ends.
We are never satisfied and that is why we must inevitably leave the planet.
We will make it difficult for you to fall asleep at night because your heart is in a cage.
The way the light hits your face makes it seem evil in an economic sense.
The works express the startling experience of synaptic connections.
The works all possess consciousness.
The works are all guardian angels of each other.
The works are meant to be both independent and interwoven; they all quote each other.
The works are X-rays of my psychic wounds.
The works are metaphysical frottages.
The works dream in different visual languages and dream into each other.
My body always hurts.
My work is always subject to change.
My process is an ontological and anthropological pursuit of healing self-alienation and an
attempted dissolution of the ego.
Through material discordance and radical transparency, I seek tenderness.
Sometimes anxiety piles up inside of me and I feel as though I am going to be hit by a train and
that my body will explode.
In the creation of a visual system that seeks somatic, psycho-spiritual, and existential relief, I
aim to shine a light on my practice as an adaptive mechanism.
When you get a text that reads “his glove got caught in a corn picker” you are Midwestern.
I have found my Proper Name through years of severe depersonalization.
I need to always remember to ask for help.
I have never had a nightmare. Never fallen. Never flown.
I want my work to occupy diverse processes and prioritize aesthetic exploration.
I do not think in series but rather ‘fields of intensity’.
I am in constant dialogue with my previous works.
I am championing a moving system of hopeful abjection.
I love calling the phone “The Horn”.
I seek to deprioritize ocularcentric theoretical thinking and point towards a felt space of liminal
transition.
I have different voices in my spirit that communicate with each other.
I want to absolve matter from its long history of attachment to automatism or mechanism.
I seek endlessly to build an ecosystem of interdimensional rehabilitation.
I am interested in Abstraction’s relationship to unseen realms of spirit, sensorium, and pathos,
and how it creates distorted perception in material form, through me, from Love.
-Katelyn Farstad