shoulder perching marks a number of investigational works that question how the body occupies spatial time. crimson ravarra’s thesis work has been led by the question of “how do i make my own time?” Focusing on the manipulation of the photograph as material—rejecting its assumed longevity and reproductional marking of time. This material use evolved by focusing on embodiments of performance through everyday encounters with the photograph, and how it relates to our orientation to space. Hence, expanding on how this particular marker can be utilized in reframing a nowness that rejects linear senses of time. In contextualizing their work as unresolved encounters, shoulder perching requires viewers to engage with how we hold sentimentality, remembering, and longing in the context of ephemera in creation. Unresolved also elicits a disruption of the past and speculations of the future. That the bodies that engage with the work, finish it. That there is a chance, moments longed for, can realign.
The work revolves around four different studies of this line of questioning. A performative expansion of a photo booth activates the space in its ephemera creation and through its invisible existence. Bringing a full circle reflection of materiality and the ways that it embodies time in its varying perceptual manipulations. This equally engages in practices of anti-production in the way the work refuses reproduction in its site specificity. shoulder perching emphasizes that material is not the place of remembering and longing, it is the body. Leaving viewers with lingering questions that continue performing outside of the 157 gallery.