... Strangers

Today I am taking a different approach to my post and am going to write out the questions I am attempting to answer! For context, I was asked to read an article by Quinn Latimer in Frieze about Moyra Davey, followed by Davey's essay "The Wet and the Dry" which was discussed in the Latimer piece.

How does Davey use "artlessness" in her diaristic, pacing style to defy nostalgia?

Typically when we discuss our childhoods we speak with awe and reverence at our various adventures and mistakes. However, by writing this essay/ diary in a very monotonous and lifeless way, Davey is able to defy the accepted feeling that nostalgia typically instills.

In her film stills and in the photos that are shown in the Frieze article, there is a voiceover of Davey reading parts of "The Wet and the Dry." Here she reflects on "The Real", "The Wet", "Mary", "Allison", etc. What does she mean by "The Real", "The Wet", "Mary"?

From what I understand "The Real", "The Wet", and "Mary" are all different stylistic approaches to her fusion of literature and photography. "The Real" is finding and demonstrating realism in your artistic work with minimal to no embellishment, "The Wet" is when you add some more emotion or surrealism to the art, and "Mary" is that connection made between the past and today.

As she continues on, the essay becomes a meditation on her own history, and the historical lives of several people. It becomes a diary of sorts. How does she weave her life in with the lives of historical figures? Why do you think she is taking this approach?

She finds the common ground and experiences between her and renown/ inspirational artists of sorts (like Mary Shelley). The documentation of their travels and the lives of their kids are most commonly mentioned as similarities in the essay. I think she chose to do this to allow the reader to easily find the connections and to clarify the objective of the essay. However, more importantly, I think it is a comfort to her so that she can remind herself that she is not alone and others have walked this path (and succeeded) before.

In "Stars Above" section page 28, and the first paragraph of "Being", why is she hesitant to tell her story?

I would assume that it is because she is ashamed or reluctant to discuss a time where she avoided human subjects. It's hard to tell a story when the subject itself doesn't have one to tell.

This essay, much like a diary, is filled with contradictions: it's both clear and rambling, confusing at times, with highly poetic and moments of vivid imagery. Does this resonate as a kind of diary? Despite it being about many other people (both living and historical figures), do you find moments where you can access this text and possibly even relate to it? How so?

I would say yes; this does resonate as a diary to me. A diary is a place to discuss your inner thoughts with yourself without judgement or prying eyes. It is a place to be vulnerable, and sometimes to do that comfortably you have to draw off of the experiences of others. I myself will write about the experiences of others in my diary as a reminder that my hardships are not unique and that there are tons of people in the world who could give me support or guidance, even indirectly.

Can something personal, but from a stranger, be relatable? Why? How?

I would definitely say that a personal statement from a stranger, especially if it's vulnerable, could be relatable. Regardless of whether or not the person is known, you can find shared experiences which forms a bond (even if it's just one sided) with the author. They have given you a glimpse into their innermost thoughts and desires and I don't see how someone couldn't search for the similarities in such a vulnerable appeal to the world.

Moyra Davey’s Portrait/Landscape (2017), 70 C-prints, installation view, EMST—National Museum of Contemporary Art, Athens, documenta 14, photo: Mathias Völzke