INFINITY minus Infinity draws on several inspirations: the modernist verse of the Jamaican poet Una Marson, the alluvial invocations of the Martinican philosopher and poet Édouard Glissant, the black feminist poetics of the Brazilian philosopher Denise Ferreira da Silva, and the racial formation of geology theorised by British geographer Kathryn Yusoff amongst others in order to envision a black feminist cosmos animated by the principles of mathematical nihilism.
The Radiant explores the aftermath of March 11, 2011, when the Tohoku earthquake triggered a tsunami that killed many thousands and caused the partial meltdown of the Fukushima Daiichi nuclear power plant on the east coast of Japan. Burdened by the difficult task of representing the invisible aftermath of nuclear fallout, The Radiant travels through time and space to invoke the historical promises of nuclear energy and the threats of radiation that converge in Japan in the months immediately following the disaster.
The first installment in a trilogy of film essays, Hydra Decapita uses the imaginary world in the concept albums of Detroit based techno duo Drexciya to comment on globalisation, capitalism and climate change. ‘Drexciya’ is an underwater country populated by the unborn children of pregnant women thrown overboard during the middle-passage of slave ships across the Atlantic. In this world a new species has evolved through the children who survived, breathing and living underwater as they did in the womb. The constellation of historical and present day episodes within the essay explores the relationship between finance, death, abstraction and language.
