Her short video, which shares the same title as the exhibition, consists of a sequence of blue frames that shift slightly in tone as they cycle through two minutes, each containing a single line of text at the bottom. The words on the screen animate a staccato poem, read aloud, one that contains lines written by Fowler intermixed with excerpts from works by Lydia Davis, T.S. Eliot, Virginia Woolf, and Oscar Wilde, among others. Each line strings together with the next as a pastiche of prose that combines into an original piece that abstractly speaks to a life, memory, and mortality.
From this video, Fowler created six wall pieces, made with car paint on aluminum, which appear like enlarged stills. The starkly minimal works are reminiscent of billboards or signs because of their execution, but also suggest subtitles, yet they are without a scene to contextualize them – the white text hovers on blue backdrops, exclaiming mid-sentence phrases such as “a heap of broken images” or “the lake of my mind, unbroken by oars.”
In addition to the video and wall works, Fowler will project her film with it which it as if it is meant to be, Part II. Approximately 30 minutes in length, this piece is the culmination of a yearlong project that documented 20 women artists who are in the later years of their career, in their studios, or interacting with their work. As with the text video, this work too has an audio component, this time the voice of different artists from the film reading Gertrude Stein’s Many Many Women. The oration is a like a stream of consciousness, a repetitive sound, which is hypnotic and provocative in its consideration of the lives and works of these prolific artists.