WHERE GOOD THOUGHTS GO AFTER DARK
“For your fate, for your failure, for your fame Can you take all the credits or the blame? We’re all just seeds We start the same, but where we land Is sometimes fertile soil and sometimes sand” David Wilcox Lis's work has long dealt with borders and alterity, and the interstitial realms in society which are haunted by ghosts; those who's identity falls outside of the positions and rules of the system order. With 'Where Good Thoughts Go After Dark' Lis evokes a sense abjection where the part of the self (the body) is expelled to become non-self (an object) and in so doing the boundary between our sense of self and the excremental becomes unstable. Into this unstable boundary flow, or even scurry, rodent-like, Lis's hirsute coconuts, engendering a kind of narrative horror. Hair, once separated from the body as human waste, immediately triggers a sense of repulsion, a gag reflex, as if it were predestined to somehow get into our mouths and choke us. These spermatozoal forms, perhaps secreted from the body, appear almost mammalian, yet the milk they contain is non-mammalian; other. This symbolic ejaculate coursing along the floor secretes signifiers. It is an enigmatic carrier – sperm cells carry DNA (life) and rats carry contagion (death).This is a pre-birth primal anxiety, or an intrauterine fantasy where the sanctum of the womb is invaded by abject forms.The scene is neither real nor contrived, and occurs on the boundary between event and fantasy, internal and external. Primal fantasies are quandaries about origins, never resolutions.