Dawn Kasper is an American bricoleur: comic, aleatoric composer, environment sculptor, nomad. Since 2008, her mobile art practice has taken residence in a series of contemporary art spaces, from L.A.’s Honor Fraser gallery, to the 2012 Whitney Museum Biennial, where she could be found, making art, amidst the entire contents of her studio, installed into the third floor. Most recently, she built a temporary studio for the duration of a month at downtown Miami’s Cannonball Residency, which culminated in a performance on March 1st.

Christian and I dropped acid
at beautiful Scott’s wedding, all eyes
taking in light and shadow of bride and groom,
entwined tongues reaping applause from Old World grandmothers,
Christian teetering, red-browed
as he slid the garter up a 16-year-old’s thigh (more applause).

I was raised in the optimistic yet dark 1960s. I still have early memories of Buckminster Fuller and his counterculture-endorsed idealistic worldview. I remember my older brother’s first edition copy of the Whole Earth Catalog; I remember the radical “back to the land” advertisements for Mongolian Yurts, homemade yogurt recipes and essays on the I Ching.

This text could not start in any other way than by emphasizing how the following words are produced by my own subjectivity and built upon a single trip to Miami. Beyond the metaphorical aspect of the cities we visit being islands in an unknown sea, the map (pg. 37) gives the reader, who is likely to know Miami in a much better way than I do, an overview of the neighborhoods that I experienced when I was there.