but I am never so happy as when the morning comes and I ca

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Initiated in 2015, this is a work that continued into 2019. First created for the 31st Graphic Arts Biennial in Ljubljana, two texts served as a point of origin - the essay In Praise of Idleness (1932) by Betrand Russel, wherein he advocates for an 8 hour work day, and the essay In Praise of Laziness (1993), by the Slovenian artist Mladen Stilinovic, which posits that western artists no longer make art because they have forgotten how to be lazy.
The installation used the skeletal form of a deck chair - commonly found in gardens and on beaches - to support a monitor and digital print on silk, with the full text from the Bertrand Russel essay substituting for the striped fabric pattern of the chair.
A single channel, 40 minute narrative gradually unfolds as a group of snails, with motion tracking markers affixed to their shells, move through a lush garden space. Used as a compositing tool in green screen film environments (for which the garden is a proxy), motion tracking allows for movement to be spatially mapped for compositing effects.
The snails begin their journey by passing through a garden picnic, evoking the novel by the Strugatsky brothers, Roadside Picnic (1977), and end by converging around the Bertrand Russell text.

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