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(Holly Márie Parnell) The title of the exhibition 
at Western Front is "Cirrus."

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[music]

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It's named after the hair-like appendages
found on certain animals that helps

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them grasp, feed, or anchor, navigate their
way through their world without sight.

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[music]

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A lot of my research at the moment is
interested in cities and the

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sort of hollowing out and homogenization
that's happening within them.

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Becoming modern dead zones, essentially. Lacking real life 
and real creative life as people are not able to survive.

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Conversations with artists actually became central to this because 
artists live very precariously through this context.

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With artists and peers at the minute, the majority
of conversations are not about art anymore.

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They're about how we're surviving as artists.

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And it was my interest in how artists were navigating these
spaces, and this atmosphere, and this moment.

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What it means to comment on the state of things are when
things feel like they're rapidly feeling groundless.

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As you can feel in the work, meaning and sense
does seem to begin to fall away.

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And there's this, both a sense of disconnect, but you
can also feel in them this desire to reconnect.

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[music]

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The two collaborators I worked with
are Min Kim. She's an artist

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based in Amsterdam and Mia Wennerstrand, who
is an artist based in Helsinki.

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And Mia Wennerstrand, who is also a
sound designer and composer.

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[music]

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I began collecting the footage in a much different
way than I'm used to actually,

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because often there is a timelessness to how
I allow myself to collect material.

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This felt a bit different because I
was travelling to where these

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people were living and having small chunks
of time to be in that space.

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For example, with Min, there were a couple of
visits where either she'd be away back

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in Korea and I would move through the city and
collect material almost from her eyes,

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because I'd already spent so much time that
I was seeing the world through Min.

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There was like a retranslation there, but I almost didn't
even need her there because I had her ghost with me.

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I want people to fall into it and be almost
like a surface from which you can

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put your own projections onto and learn more
about how you're actually feeling.

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[music]

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"Desktop Compositions" is a performance series
that I began around 2013, 2014.

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I draw on over, well over a decade of my own. I get to
try this collected on and saved on hard drives.

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And I use that material to create live
video and sound performance.

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That piece is really burst out of staying
free in the process of making

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work and not creating comments about the
world, but trying to be in it.

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And trying to make work from that space instead.

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[music]