As the author of a collection of dream sequences which she can only remember the first minute after waking, she spends most of her time recovering. With an old 35 mm , she maintains a constant orbit of observation, a heavenly body concerned with both the quality and quantity of light in a space, how it may or may not be the quality and quantity of light in a memory, how it may or may not be the kind of light that shines down in a continuous shaft of reckoning, that both exposes dust motes and transforms them from shed skin to ash. She keeps an album filled with things she is certain she could never be: the hands of a clock whose even ticking both reassures and frightens her; a mountain lion ; a photograph of her own face, twelve-years-old, reflected in one of the gold-veined mirror tiles which were installed to hide damage done to one wall in her mother’s walk-in closet in the late 1970s. In the one recurring dream she can recall , she is asleep on a bus that will take her home. As the bus crosses the last state line, as she returns to the place where she was born, she is asleep, dreaming inside the dream, and misses the crucial and epiphanic moment of homecoming. In this dream inside the dream, she is cutting white lines with the round of her thumbnail into the pillowy layers of paint on her childhood bedroom wall, scraping away at years of starting over. She digs and digs, down to the white of drywall, ticking off the days, counting up time served and fractioning it against the time left until she can leave. Her love for which came as much from the ritual of sealing it into a photo lab envelope and dropping it into the void of a collection box as from the photographs she received back from that void.This she found on the internet and printed out after realizing the one she had taken at a local zoo was too depressing. Also, it was not out of the realm of possibility for her to see herself as a caged animal, and so it did not fit the album’s theme. She actively worked to forget this dream, and when that failed, she set about revising it but only managed to dream it into something more surreal and, thus, more memorable.
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Corroborations 2014 was held at the University Libraries, The University of South Dakota, from January 16 – May 2, 2014. The Corroborations 2014 exhibition paired USD visual arts and poetry majors in order to create new collaborative work and to both broaden acceptance and appreciation of alternative art disciplines.