MORE SIGNS THAN SUN

a living performance : the newest testament : a play : book : american autobiography

More Signs than Sun (MSTS) is a living document of how separation from source and the lunar reversal of the feminine principal has corrupted and enslaved American society. Chronologically detailing the technological takeover of mainstream media and our every mode of communication, personifying forms to understand their negative embodied effect technology has had on the human system. 

MSTS was written between 2017-18, when my femininity was aligned to lunar forces and therefore, essentially driven to insanity as the only viable expression of manifestation, given the available templates of whore, suicide, man, martyr, black Madonna, witch, psychopath, criminal, etc. Which until now, with the return of Sophianic Christic forces, have been our only options.

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On Form

An initial attempt to begin explaining and contextualizing this work to an audience.

written description

pt I: high watt beam layer as a tantrum of love  

pt II: light tunneled into thin blue lines

More Signs than Sun is a poetic, non-linear, experimental text of shifting forms—mixing elements of pop culture, dance, film, and technology with lyrical dialogue to create a world as disorientating as our own. As yet, uncategorized in form. technically, translated into 2 full length plays, written for a cast of 6, in the continuous present, without recurring scenes/characters. Distilled, the content can be best described as American, with an emphasis on the media and other forces shaping our collective psyche. an exercise in challenging, through the voice’s’ of 143 characters, what it is :
to be ‘whole’.
to embody a whole
to me, to you =  as bodies = as hole, as pole
re: points of separation

 

process

PART I: prologue

MSTS started as a storybook based off a series of ink drawings I made in 2013. This became the prologue and foundation of the play. Essentially, this details the original 'falling' of man - via separation  from source and then self and others - from a contemporary lens. 
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Act 1

All characters in the play are based off the same series of ink drawings I’d made between 2013-15. These drawing grew in complexity as time progressed. In Act 1, these characters were used to develop portraits of different forms of media. Like the prologue, each scene was driven by dialogue rather than setting or plot but the content didn’t really lend itself to any form I was familiar with. So I began experimenting.  First with huge digital posters of each scene - like a still frame of simultaneous live action (Fig 1) and eventually,  smaller, image-only posters (Fig 2)  to mark  (and keep track) of each form of media I’d composed. Without recurring characters or through-lines, visually mapping the project became extremely important. Here are two versions of the same scene.

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Act 2

The logic of characters becoming more complex as the project continued,  from a composition standpoint, expanded when I entered what would become Act 2 of the project. I had about 120 drawings left to choose from so I began expanding my definition of complexity, in search of an additional visual component, or commonality, between the drawings I’d use to develop the characters in Act 2. I landed upon the direction of their gaze : choosing figures who were looking right with both or the predominate eye on their face. This gave rise to the idea of psychological complexes one develops in attempting to appease / adhere to / or simply exist within varying oppressive societies. The degree to which one suffers, in the framework of Act 2, being related to one’s progression of consciousness - the awareness of one’s being oppressed. These characters and their complexes became documentary subjects in Act 2, whose choices were influenced by their media foundation, outlined in Act 1.

 

PART II


act logic : foundation

Instead of developing characters from isolated figures, I pulled smaller images I’d isolated in making character boards for an animation project back in 2015. Once I had what felt like enough, I began mapping out the characters in Google drawings, developing a loose cyclical sequence that’d become the narrative arc used to develop each scene in Act 1.  I continued this sequencing for each Act in Part II, using the original images to generate related, but different characters.

I began reshaping the ‘storyboard’ in Google drawings  to create a new structure for each Act.  Eventually, each Act had a visual map that, when laid out one next to another, lead me to understand and categorize the relation and narrative progression each act was fulfilling in Part II.

 

Installation

Near the end of the project, once I started seeing it as a play, I began storyboarding each scene as a way to edit and re-familiarize myself with content I’d written months before. With the lighting being as important to the script as wrods, I laid out the play in 3D form to understand the interplay of shadow and illumination on the text, using the storyboards as stand ins for action sequences.

map2.png
visual map 1
 

Installation

Near the end of the project, once I started seeing it as a play, I began storyboarding each scene as a way to edit and re-familiarize myself with content I’d written months before. With the lighting being as important to the script as wrods, I laid out the play in 3D form to understand the interplay of shadow and illumination on the text, using the storyboards as stand ins for action sequences.

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