ABSTRACT
Trinh: To give you a context, the idea of making an installation came about two years ago. As a member of the advisory board of Kelsey Street Press-which publishes poetry or experimental writing by women-I wanted to contribute to the Press’ effort to fund raise and to do outreach when, in order to secure a specific grant, they needed to come up with a project that would exceed the medium of the printed page. In view of the Press’ series of collaboration between women poets and artists, I proposed a collabora tion with Lynn [Kirby] who had been working with installations. The Press was very excited and started raising money for the installation. They also contacted Renny Pritikin at the Yerba Buena Center for the Arts, whose location and multicultural audi ence seemed best suited to their attempt at expanding their readership. But the project as it stands now exceeds my initial gesture of support; it is a tribute to the love of poetry, with a focus on film elements-since this is the medium Lynn and I work with-and it has certainly taken on a life of its own. Kirby: We’ve been thinking about the installation as a way of eviscerating film, step ping into the film frame. There is no film itself in the space, only the elements of filmlight and shadow, color, sound, the most basic lens in the form of a pinhole camera, acetate, the backing which holds the film emulsion, and of course, time unfolding.
