Mireille Eid

Destinies of Frozen Angels




Silent Spaces
Macquarie University Art Gallery – 12 March – 5 May 2010.


Asian Girl


Bathing Doll


Black Girl


Black Boy


Capture (Video Still)


White Boy


Soft-Bodied Doll (White)


Asian Boy


Soft-Bodied Doll (Black)


I cannot be sure why the installation The Destinies of Frozen Angels came into existence. Whether it was a persistent but interrupted thought or a residual affective response to another missing piece of my childhood, I cannot be certain. And yet, eight portraits of unearthly beings – again, found in a library only this time titled, classed and catalogued – surround, as if in a ritual, the looped thirteen-minute video of amassed passers-by. Library-assigned titles, such as ‘Asian Girl’, ‘Black Boy’ and ‘White Baby’, normalise a certain ‘disaster’ while at the same time exhausting the limits of language. And so, layer by layer, I peeled, and danced with the ‘disaster’, a rip ‘forever ripping apart’, revisiting and reinventing the sites where my other selves have lodged themselves, each time leaving behind the noise of repetition and image cascades (Blanchot). Thus I searched, through the haze of a dream, how and where I could perform all that I wish to be regardless of boundaries, definitions and proclamations whilst trying to capture, as I did in the video, the endless strides of humanity struggling with skins, threads and imprints.

Silent, but on the brink of an utterance, the ‘beings’ pierced through their plastic entombments, performing in all their stature, the disavowed vehemence inherent in their classification. But as I tried to contemplate the destinies of frozen angels, I felt that there never was a single destiny for a single angel, but always a series of parallel worlds where the infinitude of time and distance marched forward and backward, collecting me as it were in the never-resolved tension between what I am, what I am to be or not(Richard & Pendergast).

An Arab and a perplexing destiny, I am perhaps seeking to unravel, as if frozen, outside language, without ever ceasing to belong and where all possible events are realised, each in a different branch world. But however spectral or biomimetic, the frozen angels gaze and beckon autobiographers, all the while beseeching them paradoxically to embody different states. It is then that traces reminded me of where I have been, as shape-memory incisions under my skin summoned once more the dispersed multitudes. Entering then exiting itself, the artwork perpetuated endlessly an immaterial architecture materialising at will, at any time and at any place on Earth... and its Other. (Excerpt from M. Astore "Signs and Whispers: Membranes for the Immaterial Life." In Third Text, July 2012: 26 (4): 431-441.")

J Richard and S J Pendergast, ‘Quantum Mechanics And Teleology’, The Heythrop Journal, vol 52, no 2, 2011, pp 271–278

M Blanchot, The Writing Of The Disaster, Ann Smock, trans, University of Nebraska Press, Lincoln, 1986, p 75


©Mireille Eid


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