I want you to look at body politics and your body in relationship to able-ness, the gender construct, racial construct, and the sidewalk as a place where all of these interactions happen when coming into contact with other bodies.  A cul-de-sac but a dead end, no through street, a vessel or tube with only one opening at the bottom of the sac.

The word cul-de-sac was used in English anatomy since 1738, referring to the uterus. The Pouch of Douglas or cul-de-sac or rectovaginal sputum is the space between the rectum and the uterus, the lowest part of the abdominal cavity. When walking on a sidewalk think of your existence being who you are presently, as well as who you where pre-existing and what you can potentially become, all of that is Reality. The cul-de-sac created for cis-white flight. A place to live politically disengaged to what is outside that sac. These spaces are where these constructs are executed with real consequences and privileges: hysteria to white woman, the American Dream to aspire to as an Immigrant and a place that is often inaccessible to the Black community.

“The title a reference to the nymph of the same name who was transformed into a bay laurel tree to flee the pursuits of Apollo...”a heavy numbness seized her limbs, thin bark closed over her breast, her hair turned into leaves, her arms into branches, her feet so swift a moment ago stuck fast in slow-growing roots, her face was lost in the canopy. Only her shining beauty was left.” Within this particular piece Zeina Baltagi is elucidating a metaphor that again speaks to concepts of mobility, feminism, and agency.” From a review by Jesse Aylesworth in the catalogue Altered Trajectories. Photographs taken by Nathan Jorgenson @fotoapparatic