In addition to using amate, abaca, linen, and cotton fibers, the work also includes ceramic elements, stones, urethane, rubber, reclaimed newspaper, glass, holographic foil, and acrylic, oil, and vinyl paints. By pushing the limits of the pulp’s potential as a medium, she circumvents expectations related to the material collectively, setting up a deceptively slow read. The works in Fever Logic behave like objects or vessels that are active agents capable of containing and projecting worldviews and perceptions. As the body is its own vessel of fibrous connections, the scale and tactile nature plays with the viewer’s body and their relationship to the work, imparting a deeper connection through the legible physicality contained.
Paper is quotidian and recognizable, yet its appearance changes with different processes, recalling skin, concrete, or blobs of paint. It expands and shifts, acquiring a vulnerability that is full of inherent contradictions and metaphorical implications. This material integrity is central to the work’s effect. For instance, abaca, the strongest natural plant fiber, increases its durability the more it is beaten. Just as the body holds somatic memory, pulp can hold still or be reanimated. The significance of the interiority— which contains no armature— is evoked through sly transposition, wherein a plush-looking surface is sawed into revealing a dense brick of matter or a delicate film of urethane appears to have eroded through a composite slab. Within this structural dialogue, Anagnos questions how something can be its opposite, or have no opposite at all; be of the Earth, but not of this world, that is, the world of established letters and binary systems.