the public’s processing of catastrophic events and brings to light
the short-term memory perpetuated by pithy news cycles driven
by sensationalism and ratings. In a video counterpart to the
photographs, each image flashes on a screen, interspersed with a
countdown reminiscent of detonation.
Across the studio, on another table lie beautifully rendered
diagrams Yoland has created for a yet-to-be-realized performance.
A corresponding map of the performance is marked out on the
floor of her studio in blue tape. Each cobalt shape is a territory
that will be occupied by different performers during the course
of the piece. These renderings exist as works of art in themselves.
Continuing lines of inquiry established in the work she created
in Marfa, this performance explores cultures of exclusion and
individuals who lack agency. Yoland aims to employ performers
who speak an array of languages to realize the project. She plans
to find a venue here in the city.
Now based in Dallas, Yoland is re-acclimating to being
surrounded by urban space. In recently initiated projects,
she is beginning to unearth the history of Dallas, ranging
from segregation to the forgotten past of previously existing
communities. She has found the city’s arts scene to be “incredibly
warm and engaging,” stating, “It is a brilliant community for in-depth discussions, sharing ideas and challenging each other
both creatively and intellectually.” Her work so consistently
engages with the community and creative landscape, it is difficult
to imagine a time when her residence here in Texas will come to
an end. P
Inside the artist's studio.
K. Yoland, X-Steps Removed, Video 2008 & Prints 2013. Courtesy of the artist.