“The tactile quality of a thing is more reliable than memory,” Kuh del Rosario tells me. “It’s there, it’s sitting in front of you. You can touch it, you can feel it, it’s something you can go back to.”
Just a few moments ago, del Rosario had fetched me from the Chinatown alleyway where I was loitering, admitting me via back-door into the studios behind the artist-run centre Unit/Pitt. Now, standing in the bright, subterranean space with Solo cups full of wine, we examine palm-sized, candy-coloured specimens laid out on her work table in a neat grid. Though they seem confectionary at first, or even geologic — many of them sport seductive crystalline surfaces — each object is completely synthetic, assembled from industrial foams, paints, and adhesives by del Rosario herself. The crystal, she tells me, is home-grown from a Borax-based concoction, the pastel palette harvested from a hardware store’s “mis-tint” section.
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