dear dear
(sappho & judith butler in correspondence)
dear j,
from
painted
difference
a
slanted
writing
the
part
tricky
not
unique
her
point
of
departure
while
she
went
on
no
matter
which
double
it
will
reminding
and
answered
with
speech
the
goddess
you
look
and
decorated
dear s, by accident she also loved and I wasn’t found the most born but rather of becoming is to be becoming that one is neither becoming could become the central not just images for instance it seems
dear j, cosmos in the language according to relatively she regrets from the body it all says as the sweet unable who languish if unfinished and does not reach her further no not to involve the reaching
dear s, hold within the same sexed body the sexed possible then what sexual life in which are now matter now in interaction or another discursive and where we tend in history the body living to exist
dear j, appears noticing this could be standing dislocation ecstasy is who beginning no one textual than any at least what we see so hears trembling and here’s one breath subtle forgot and here’s by me calls
dear s, when those audible bodies what bodies should how gathering to see too many precarious to temporary the violence simply to stand together more illuminated as if to say criminal or whether gender and who desire
dear j, did young seduce span was she and so and how gesture bypassing from the omit or seem to mention of hand upon sitting empty of those love of girls wondering partly pleasure of her might have been
dear s, how do we understand it’s true the body perhaps any particular elusive bound up what a sexed body perhaps the limit failing oh why sunny cavern how women nonconforming a phantasm living visible love in this world
dear j, lost sleep from the same horizontal in her for you thoughts the proper city a territory on which was exiled for memory when female implies although frustrates style in index no woman covering bare words
dear s, do I everything before only where travel and my was never and not yet apparently understood and unless loved and listen so when asked into virtue by what because this is what happens and every
dear j, to think more about pronouns undoubtedly overall her examples within with singular and plural us and me of performance and I personal it contains to apply heat erotic the devoted and to possible addressed
dear s, the time of idealization before what is seems artistically to be understood as modes are the story who lived feminine more dramatically throwing why would to feel the the trace the possibility if now
dear j, on a roll or most don’t exile but no reason of composing of which is lost woman and way of women perhaps what center from scraps for example longing sweat torn in present thrilling
dear s, finally it made sense if we only regard for you came how to think with pleasure you can imagine the body have dreams where first a body in what sense shaped of sex female
Sal Randolph is an artist who lives in Brooklyn and works between language and action. Her projects have been seen recently at Cooper Union, Denny Gallery, Wave Pool, the Museum of Jurassic Technology, the Asian Arts Theater, Le Centre Culturel de Cerisy, and at the Akademie der Kunst in Berlin. She is the co-founder of dispersed holdings, an artist-run listening and publication space. New language work is in Otoliths, Queen Mob's Teahouse, the anthology Dream Closet, and forthcoming in Sound American. She is also writing a novel on Twitter: @driftictation.