Abstract
This exegesis utilises writer Rebekah Edwards’ definition of ‘trans-poetics’ as a methodology for
the creation of performative and moving image artworks. The linguistic categories within transpoetics
are transcribed through a creative practice, valuing language for its multiplicity, ambiguity
and limitations.
The projects outlined in this exegesis focus on queer and trans histories lifted from archival
documentation. Trans-poetics are employed to circumvent and rearticulate the problematic legacy
of queer and trans representation. The aim of this research is to utilise and push beyond the
established oeuvre of queer autoethnographic work.
To take the waters (2017) and Hardening (2017) are two moving image works formed in response
to the life and events surrounding the internment of Hjelmar Von Danneville on Matiu Somes Island
in 1917. As works of significance, they are clear distillations of modes and methods of transpoetics
used in response to narratives within historical material.
Date
2017
Rights
The Author
Publisher
Massey University
Description
Content removed due to copyright restrictions: Figure 4: Tsang, W., 2014, The Shape of a Right Statement, Installation view, NOGUERAS
BLANCHARD, Mardrid. Retrieved from: http://moussemagazine.it/axolotlism-nogueras-blanchard/ ;
Figure 7: Photographer unknown, 1914-1917, Dr von Dannevill October 1914 - June 1917, NZ
Archives.
Retrieved from: http://www.pridenz.com/image/000004.html?ref=1100 ;
Figure 8: Weems, C., 2006, from the series Roaming, Photograph. Retreived from:
http://carriemaeweems.net/galleries/roaming.html ;
Figure 10: Mesiti, A., 2014, In the Ear of a Tyrant, Installation view,19th Biennale of Sydney,
Art Gallery of NSW. Photograph: Sebastian Kriete. Retrieved from:
http://www.angelicamesiti.com/selectedworks/#/in-the-ear-of-the-tyrant/
