A. Laurie Palmer. Heap Leach Field, Nevada (silver). Courtesy of the artist.

A. Laurie Palmer. Heap Leach Field, Nevada (silver). Courtesy of the artist.

In 2015, Black Dog Publishing released A. Laurie Palmer’s book, In the Aura of a Hole: Exploring Sites of Material Extraction, which documents multiple visits the artist made to sites of industrial extraction around the United States. Describing trips to Texas, Florida, New Mexico, Wyoming, and California, among others, Palmer’s essayistic account weaves personal experience and history, philosophy, science, politics, and economics, revealing the complex and reciprocal relationship between humanity and the materials on which it relies. Palmer is a sculptor based in California; she has exhibited widely since 1988, collaborated for twenty years with the artist group Haha, and cofounded the Chicago Torture Justice Memorials.

Caroline Picard: Can you talk about how In The Aura of a Hole developed?

Laurie Palmer: There were many seeds for this project. One is from the early 1980s, when a friend gave me Lucretius’s De Rerum Natura while I was living in San Francisco. In that philosophical poem, Lucretius asks straightforwardly: What is this place? What is it made of? How does it work? His answers are as helpful now as they were in 50 BCE, in the sense that his curiosity, detailed observations, and empirical imagination still reverberate. He was an early proponent of a DIY ethic: he trusted his own experience to make sense of things. As an Epicurean, he believed the gods and their spokespersons were not authorities to be trusted, while being nevertheless supremely humble, in his desire to hear the opinions of others.

Two thousand years later, the world is materially different—perhaps destroyed, certainly drastically altered—and we now question how certain human practices and ideologies have become naturalized, as if they are forces that can’t be changed, that are part of the nature of things. Lucretius’s direct approach is helpful in a different way for questioning the intransigence of these practices and ideologies, but really it was his poetic imagination and inflamed curiosity that moved and affected me so many years ago. And his willingness to ask simple questions…

CP: Was the book at all influenced by your studio practice?

ALP: In the early 1990s, while writing about art, making art, and teaching art, I had the idea to write a book about materials that might be relevant to teaching sculpture. I thought I could write a sort of handbook of descriptions and associations; I would write about the world of matter as if it were art. But I didn’t write it because I didn’t think it had any ground. By ground I mean a more located politics, addressing the privatization of space and resources.

I found the ground for the book when I began to question land use in my own practice of making. Haha’s work had always been place-based, and that long collaboration is another important seed. But in the late ’90s or early 2000s, I started thinking about land as both abstract space and tangible material and to explore its status as a “fictional commodity,” in Karl Polanyi’s term. This led to visiting mines, where land as space and material becomes explicitly commodified—turned into an object. The question of thingness (what makes a thing cohere) has always been an art question for me, a sculpture question. From 2003–04, I was given the unbelievable gift of time to read and think at Radcliffe College; the experience both opened and unhinged me. It took a long time for me to filter out all the joyful noise, and in the end the book is something different from whatever I had hoped would result. The research that went into it has become a bountiful source for making new projects, and the writing helped me find new ways to think about being in the world. As an artist I want to be changed by what I make, through the process of making it. Working on the book did that. I crafted it as a porous whole, to create a certain picture of the world. Even if it’s unevenly geeky, digressive, personal, or didactic at times, it’s nevertheless a porous whole made of eighteen holes. The golfing analogy didn’t occur to me until after it was published. In my mind, it is an art project because it is constructed more as a thing than a coherent narrative and because that thing consists of different kinds of voices, or of information, which might not exist together except perhaps in the permissive context of art. As in artmaking, I let more in than I could make explicit sense of, with the hope of giving the reader and receiver a lot to work with.

CP: In the introduction, you say you want to break the script, to take a “reparative rather than paranoid approach.” I feel ever more aware of how embroiled I am in systemic violence, in no small part due to the modes of industrial extraction on which my daily life relies. While I recognize that entwinement, it seems like a dead end to simply say, “I will not participate,” partly because it’s impossible not to participate. But I also worry that struggling to maintain a refusal might require so much of my energy that I would end up blind to alternative, nonviolent possibilities. I find that your book stirs up a different kind of awareness, but I’m not sure what to call it.

ALP: I’m not sure what to call it, either. In some ways this project involved digging deeper into a wound—learning more about and specifying my complicity in the interconnected violence you speak about—of ecosystem/world destruction, resource depletion, militarism, surveillance, poverty, racism, and unemployment as necessities of capitalism, and other outrageously wrong systemic priorities, all of which support and perpetuate each other. Alternatively, drawing connections between the materiality of the Earth and our bodies reveals our vulnerability and our complicity in a larger-than-human frame and points to a different kind of connection, to focus on and explore as a way forward. Of course it is facile to say everything is connected, but it’s interesting to try to specify how they are connected. And the closer one looks, the more surprises one finds, creating a picture for which the laws of non-contradiction do not apply! I think of art as a really big net, with a broad tolerance for contradictory reality. With writing, one is always struggling against an exclusive logic, which makes it so hard to write and which makes really good writing so exquisite because it refuses that logic. I would like to be a writer, but I am an artist. But to return to your question: a reparative approach assumes disaster has already happened, is happening, and is ongoing alongside a lot of other things that have happened, are happening, are perhaps not so visible, might come to the surface as useful, could offer the seeds for different understandings…

Read more here.

Caroline Picard

Caroline Picard is the Executive Director of The Green Lantern Press—a nonprofit publishing house and art organization—and Co-Director of Sector 2337, a hybrid artspace/bar/bookstore in Chicago. Her writing and comics have appeared in publications like ArtForum (critics picks), Everyday Genius, Hyperallergic, Necessary Fiction, and Tupelo Quarterly. In 2014 she was the Curatorial Fellow at La Box, ENSA in France, and became a member of the SYNAPSE International Curators’ Network of the Haus der Kulturen der Welt in Berlin in 2015. Her first graphic novel, The Chronicles of Fortune, is due out from Radiator Comics in 2017. www.cocopicard.com