In both drawing and performance, gestures are linked to thoughts and inner impulses, which connect with the outside, a surface. The line acts as a metaphor of both separation and connection through which we see the drawing/gesture/spoken text and the boundaries and borders between people, objects and countries;
the body and the body politic.
InLine is in part about 'keeping in line' and how that works too, within the limits our social positions, processes of identifications, the languages available to us, and the unavoidable trespassing that occurs when one expands beyond these boundaries.
By moving a line from paper to the body and back to the paper, or a wall, a screen and so on, the line, the form’s meaning becomes layered and complicated in each reiteration. Theses complication and disorientation are translation processes. Translation from language to language, person to person, culture to culture and one artistic medium to another. Perhaps this line brings attention to the hurdles as well as the potential of translation (body/language, always).
"InLine" (written with no space) echoes the idea of a (constant) thread, a continuation, non-stop movement/translation, or absence thereof.