I saw The Wretched Couple in Paris. In the picture her hand pinches his shirt. He is protruding from his pants. They are done up delicately, a commensuration of curves in purple, red and black reverse-painted ink strokes on a plate of glass. Paul Klee must have thought about them for days because they were redheads.

Survival and dirtied clothes: the discomfort of 1905
By the neck is a scene of thrust

Where all couples wrestle, where a wretched couple is basically contraband, Sentences and Clocks are pieced together from contraband and curiosities like this old artwork.
Curiosities that stretch back at least a decade’s worth of fascination for crimes, impersonal poetics and the anxious measurement of time.

Now. Waltz may
Now. Be.

I own a first edition of Geography and Plays. The book is filled with repetitions [another time measure]. Sherwood Anderson [who wrote the introduction] describes these repetitions as sacred “housekeeping words”. These clocks are subterranean like those words. Their hands walk clockwise but move backwards. These clocks are immediate. They rupture continuous time to hold the spirit of the neglected and the forgotten: A wife [Flora Muybridge]. A cheat. Her comb. A sponge.

The heat. Her
Wholeness.

The woman was a molecular scoundrel who died sick. It’s hard not to think of all the pictures the photography assistant posed in plus all the ones she was bound to,

“I won’t answer to paws.” A paw is a person who uses a sex chat without uploading a profile picture, opting instead for an auto-generated emoji. The real and the imagined disembodied animal parts compartmentalized online measure an esoteric passing of all personhood into instinctive seduction. Clockwatching is a count determined by the teenage spirit of lonely bodies that cope and absorb all fear and fantasy.

Take. Time right.
Clock. Thinking. Out.

Anything that swings evenly can be used to measure an interval but we first had the earth-sun, sand and water and the pendulum. As tuning forks eased us into a sound fabric, one clock unreliably coupled another merging causality and free will; setting up faulty knots to measure the wobbly movement of these elliptical times.

Watch. Now.
Silence.

Read Fabiola Carranza's script, Frankincense and Flora

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About Fabiola Carranza

Fabiola Carranza is a visual artist, writer and PhD candidate at University of California in San Diego. Her research interests include: horology, artificial darkness and opacity, psychic and social incoherence (or negativity) in approaches to art and theatre.

Recent solo exhibitions include: The Mexican Husband at Deslave (Tijuana, México, 2018), Aedes Hallucinates in the Jungle at Malaspina Printmakers (Vancouver, 2016). Carranza has participated in group exhibitions at Plug-In Institute for Contemporary Art (Winnipeg), The National Gallery of Costa Rica (San José), the Contemporary Art Gallery, 221A, Artspeak and Access in Vancouver, Canada.

Her work was been generously supported through residencies at Plug-In (Winnipeg) Hospitalfield (Arbroath), SOMA (México City), Dos Mares (Marseille) and at The Banff Centre for the Arts in (Alberta) and through awards from the British Columbia Arts Council and the Social Sciences and Humanities Research Council of Canada.

Carranza’s writing has appeared in The Capilano Review, Charcuterie and c magazine. Her first public art commission Seven Signs was on view at Waterfront Park in Seattle in 2016 and her play The Mexican Husband is slated for publication this Fall.

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Sponsors

With the generous support of the Winnipeg Arts Council with funding from the City of Winnipeg

Special thanks to our community sponsor, Video Pool Media Arts Centre

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