A pair of Onitsuka Tiger MEXCIO 66 sneakers worn by the artist for eight weeks while resident in Mexico City, installed atop undisclosed found objects as if hovering.
Photo: Tully Arnot
"The work began as a dumb pun. I was travelling to Mexico City, a place I knew little about, and recalled a familiar namesake, the Onitsuka Tiger MEXICO 66 sneaker. Without substantial reasoning, I thought that the sneaker might provide a way in to making work during my two month stay.
The globally iconic sneaker was produced by Onitsuka Tiger in the lead up to the 1968 Summer Olympic Games, an event that (I would soon learn) is locally synonymous with an infrastructural transformation of the cityscape, a student led social movement and a state sanctioned massacre. I thought about the sneaker as being indirectly embroiled in the socio-political history of Mexico City, a globally distributed secret citation.
I purchased a pair of MEXICO 66s and wore them for the eight weeks I resided in CDMX. Over time the white leather became scuffed and sullied by the street, and I began to think of the sneakers as a kind of receptacle for the megalopolis, a recording of my traversing of it. I became conscious of the sneakers as the literal points of contact between myself and the ground, upon which I am a visitor/tourist/outsider/itinerant, and thought about what it means to make work in an other, foreign World.
The work made itself as I walked, and was in this way both lazy and not lazy. As Melquiades Herrera might say, the sneaker was designed for performance.
The sneakers are installed atop four undisclosed found objects, as if hovering."