P L A N K

Plank stages an improbable encounter between two upright constructions on a long, white platform. At one end, a box-like chest supported by crutches, its surfaces alternating between coarse textures and artificial greenery, is draped with a Palestinian keffiyeh and crowned by a stalwart neck without a head. Beneath it, a dark circular opening interrupts the ground. At the opposite end, a lawn rake has taken on an arborescent disposition, sprouting leafy branches above its suspended tines and rising from a nest of intertwined twigs around a weathered metal stand.

The two formations confront a peculiar predicament of locomotion. One is equipped with crutches but has nowhere to step; the other appears rooted while bearing an implement intended for movement across the ground. The title invokes the punishment of walking the plank, though neither participant seems capable of carrying out the sentence.

The encounter unfolds the absurdist humor of persisting despite the apparent impossibility of proceeding. The keffiyeh patterns link the headless figure to Palestinian resistance, its upright bearing contrasting with the precarious ground beneath it. Between defiance and vulnerability, rootedness and displacement, Plank sustains an impassive exchange afforded by the meme of its miracle mile.

The objects under study speak a language of their own and eavesdropping on one of their stolid exchanges runs up against alternative laws of locomotion. There is a race from the perspective of a milestone, a crutch-legged ventriloquist addressing a fertilizing miracle, a rooted stand become arborescent yardstick, an acephalous biped fixated on the lawn rake that would scratch its back, a militant tree stump out on the limb of happenstance, hopscotching over abysmal circumstance. To witness such an encounter is a fatal act that places a chest of insurgency on perilous ground and left to fill the blanks, condemns this stalwart creature to walk the plank.