My friend Jenny died in a plane crash last spring. She was a brilliant photographer, a crucial artistic mentor of mine, and a wonderful, kind friend. A large part of her practice was about working with her own family archive. She considered her art practice a way to connect with ancestors who were no longer on this plane. Often spoke about debunking the idea that photography is the “truest” form of information. The thread of refusal ran through her work, especially Indigenous refusal, which I admired deeply. My favorite pieces of hers are those that examine refusal as a form of power.

Jenny also often made portraits of her loved ones as archival work, queer future-making work. Caretaking work. I am honored that she'd proposed making portraits with me later in the Alaskan spring, once she returned from her trip and the light started coming back, too. Jenny often talked about light, pointed out the quality of it, remarked on its beauty. Enthusiastically explained the work of light in images both digital and physical.

Pulling (together), 2023 - Jenny Irene

I've been thinking a lot about her during this residency: how much of a relief it would be to get to text her, to talk with her, to read her feedback, to hear her opinion. To know whether or not she liked this project.

As I write, I am struck with how flat the image of her is on the page. Another abyssal distance, another program to execute. Mycelium grow the best—the fastest—in the dark.

I keep a few of Jenny’s photos at the desk where I write. Before I have the chance to say it out loud, my partner asks whether I am working with my own family archive because of Jenny. I think for a beat before answering that yes, I am. But also, somehow along the way, this project started to feel like a way to try and get closer to Jenny, I think, which I didn't realize until the idea was erupting, already finding the light.

connect

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