ABSTRACT
Poetic prose is deployed to capture the circuitous and spirited nature of a fungible studio practice of decolonial aesthesis, from 2018 to the present. In several distinct movements, the text meticulously notates all the duplicitous origins of a Black fungibility concept that supposes Blackneese to be something other than its stereotypical self, which here is regarded as being deeply complex, infinitely iterative, unafraid, and completely untethered to the white, colonial, cis-het-paternalistic past. Blackneese, within this fungible purview, refuses homogenized parentheses. For it thrives when living recklessly out-of-bounds. This text tracks this unboundedness, especially whenever Blackneese takes a peculiar fungible turn. Written in a diaristic format, these several distinct fungible genealogies told during the course of Blackneese errantries tackle how to bridge the phenomenological gap between one’s material and one’s concept—for work serves as a derivative of itself. Studio errantries chronicle Blackneese vulnerabilities. It documents each time Black fungibility gets aggravated; self-implodes; each time an oddity spurs up—from a limb, head, lip; each time it untangles a disorienting web; recovers some lost forgotten knowledge; each time it illegally crosses a foreign border; clashes with state authority; each time it reimagines a new racial status; and goes back in time. Chasing its own proverbial shadow. Yet in this dervish circling—glitchy rebirths—everything inside and out grows exponentially. For I started out as one and then work became a manifold. A symptomatic (decolonial) exponent … a multitudinous radicality.
