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Resurrectura, Sasha Fishman’s first solo presentation in Los Angeles, engages with sites of transcorporeality to trouble the assumptions embedded within a rigid taxonomy of species classification. Disgust, pleasure, identification, and desire commingle within the interstices of both Fishman’s material structures and the interspecies encounters they speak of. For half a year, Fishman raised hagfish – deep sea eels without vertebrae – at her studio in East LA. In a thesis statement, she writes:
Five fish once changed me. We saw each other every other day. I felt comfort from them; I will never know what they felt from me. I wanted to be in the water with them. When the fish departed, I did my best to keep their bodies warm.
During routine tank cleanings, suspended flurries of sloughed-off skin cells, human and fish alike, danced together in the darkened water.
The works on view, produced during two years of Fishman’s MFA at Columbia University, are themselves a...More
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Resurrectura, Sasha Fishman’s first solo presentation in Los Angeles, engages with sites of transcorporeality to trouble the assumptions embedded within a rigid taxonomy of species classification. Disgust, pleasure, identification, and desire commingle within the interstices of both Fishman’s material structures and the interspecies encounters they speak of. For half a year, Fishman raised hagfish – deep sea eels without vertebrae – at her studio in East LA. In a thesis statement, she writes:
Five fish once changed me. We saw each other every other day. I felt comfort from them; I will never know what they felt from me. I wanted to be in the water with them. When the fish departed, I did my best to keep their bodies warm.
During routine tank cleanings, suspended flurries of sloughed-off skin cells, human and fish alike, danced together in the darkened water.
The works on view, produced during two years of Fishman’s MFA at Columbia University, are themselves a...More
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