SPEAK<strike>WE</strike>               an anniversary of a 2017 MFA thesis.               a bad audio book.

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We are casually performing for you. We are recreating that 80's classic, The Neverending Story. Alone, in the dark, thunderstorm, a pb&j, "No, better save some for later." Imagine me, my telephone number. Reading into my phone (my most constant companion) in the middle of the night. I will make something--not editing yet. Read me, lack. Self conscious? Or not? Am trying to seem nonchalant? Maybe just trying to remind oneself how important performance is to oneself...to the act of disruption. Glitch we. Most of this text still holds true. Whatever that means. But, bear with we, is not edited. Is quality of phone without noise reduction. Includes some asides. A few flubs as. Difficulty describing images...will add images later, we swear *by the moon and the stars in the sky. And, uncomfortable moments of handles, hashtags, and sarcasm. An attempt to seem *so beyond* I will soon be adding a suggested playlist of accompanying music, because this is still myspace.

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This is a speculative text that functions as an accompaniment to the exhibition Magic Erasure Correctives (Miller Gallery, March 25-April 16, 2017, as a part of FAM, Carnegie Mellon University MFA thesis exhibition) by MFA candidate Kevin Brophy. It partially catalogues Brophy’s research and work produced over the past three years, insofar as it relates to the exhibition and their practice at large. The thesis exhibition is just a small section of their work, which exists as praxis more than anything else. This text also functions as a conceptual work of intertextuality embodied, splitting of voice, and multiplication of identity positioned beyond the site-of-self. It is, itself, a heterotopia (this is space), a cyborg (hybrid), and a wound (edited), which always indicates multiplicity; what is wound but the internal meeting external?

This text looks to the writings of Michel Foucault, Judith Butler, Mark Seltzer, ­­and Donna Haraway to explicate identity as a social construct and a tool of systemic oppression, as well as the possibility to subvert that construct; while acknowledging artists Graciela Carnevale, Kalup Linzy, Shana Moulton, and Jillian Mayer as performing this act with various strategies. It is an analysis of power structures and how to break them down through intervention, destabilized identity, and self-mediation; performed by body, machine, space, and social—the boundaries between these things are as permeable as anything else. Brophy offers a utopia, for once: the fiction of the future situated in the now. And, it is not a paradise. It is an un-real thing.


Table of Contents:


Acknowledgements                                                                                                                 3


Introduction: We is a Device  (all audio: bottom of page)                                                      4


The Self Help Chapter: Every Morning We look in the Mirror and Say,

              “Leave Your Body, Kevin, Like a True Prostitute.”                                 6


The Infomercial Chapter: The Marketplace-Everyday, Whatever                                         26


The Horoscope Chapter: Kelly with Electrical Tape in Her Hair                                           40


The Sci-fi Chapter: We are Just an Illusion Trying to Change the World                              56


Conclusion: Socio-performative Personality Disorder, I’m Falling for You                            77


Appendix: Bibliography and Notes, A Manual for Reading This Social                                82





We thank all voices. We speak for ourselves. We speak for you as well.

Feel with freedom, sure, to speak for us too. You know you always do.

Prescribe some more, We like it. But, do please notice the construction.

We feel so for these mediated bodies. They make us We. Consensually.


Some mention of advisors and those who have factored into our practice,

but, with understanding, note that the person We passed on the street this

morning, and the conversation We overheard at Unmarked Café, do so too.

+This written work considers concepts of contradiction, conflation, and multiplicity of voice, text, and body through the process of being.+


Full appreciation. Some mentions are not positive nor negative, but end-all noteworthy:

Benefactors, Regina Gouger Miller and Marlin Miller; powers be, Dan Martin, Charlie White, and John Carson; committee advisors, such gems, Paolo Pedercini, Devan Shimoyama, Larry Shea, and k8 hardy; deep empath, Cara Benedetto; enduring impact, Susanne Slavick, Melissa Ragona, Scott Andrew, Suzie Silver, Imin Yeh, Sarah Eldridge, Echo Eggebrecht, Angela Washko, Kim Beck, Lauren Shapiro, Clayton Merrell, Gregory Lehane, Andrew Johnson, Joseph Mannino, Jon Rubin, Bob Bingham; Frank-Ratchye Studio for Creative Inquiry, Golan Levin and Tom Hughes; also those many studio visitation rights, kind-of-famous-meat; VIP, Tom Justofin, Lauren Goshinski, Bob Kollar, Keni Jefferson, and Mark Cato; Miller Gallery, Margaret Cox and Kara Skylling; old-news We remember, Noelle Mason, Ricardo Marchi, Selena Roman, Jason Lazarus, and Andrew Scott Ross; most writers, artists, teachers in pasts a lot; some-call-us-cohort, Hannah Epstein, Adam Milner, Brittany De Nigris, Moses Williams, Lee Webster, Joy Poulard Cruz, Gray Swartzel, Shobun Baile, Everest Pipkin, Alex Lukas, Erin Mallea, Jisoo Yeo, Shohei Katayama, Nick Crockett, Paper Buck, Jamie Dickerson, and all colleagues past and present; fans, friends, co-conspirators, and spiritual guides, [UNDISCLOSED]collective, Gigi Lage, Micaela Lydon, Daniela Mora; always space for, Sam Newton; some graduated, Claire Hentschker, Maddy Varner, they rep all the art-kids with good brains: We are you. There are many missing and We won’t lie: forgot. Also, in-past, not CMU, not USF, not Art. We have no time. We still like your music and mine. Out-of-sight and out-of-mind things. But, read far above: All caused this effect.

+This written work considers concepts of contradiction, conflation, and multiplicity of voice, text, and body through the process of being.+


Odd sentiment: Mother, Sister, Brother, Dead-Grandma and Dead-cat, We owe you.

Too many Dads.