artist statement

Through an interdisciplinary practice which follows a cross-disciplinary ethos in which writing is a much a form of sculpture/sculpture is a form of performance/performance is a kind of bookmaking/printing is a type of sculpture/poetry is a kind of theory/theory is a kind of poetry/so on and so forth. Books becomes provocations to make objects and objects provoke performances. Writing undergirds the whole framework, and a nonbinary ethos. [an interest in the negative, the multiple, the polysemic nature of meaning as a whole] Objects both found and constructed are placed in discrete formations to form object-sentences, while other works incorporate words as if they were objects or images to be read like one would interpret the meaning of any open-ended object. Lectures are utilized as performative spaces for extrapolation as well as meaningful gestures and the occasional confusions. Lectures are more often than not a dry space of intellectual boasting, but following a history of artistic lecture-performances, I utilize them as spaces of conversation and even entertainment. My materials range from the very light such as paper, and canvas, and refuse, and small objects and books, to the heavy such as rocks, and ceramic objects, and concrete, and large objects and piles. Materials associated with both books and architectural spaces are at the forefront of these material lists. The space of the book, and the space of the building are deconstructed or engaged with in order to consider the politics of these spaces as open-ended imaginative areas of exploration. Importance is always placed on the shifting of meanings and structures and ass/presumptions; self-conscious instances/conversations/experiences of reflection are important to reevaluate embedded ideas of normalcy and how we perceive the people and things around us. People are not so easily boxed into how we choose to perceive them; architectural spaces are not so easily reengaged with and changed as our requirements for them do. This is nonbinary as an approach not an identity. Reworkings of perception in this way can inspire greater empathetic sensing. To be nonbinary is to be open to change and shifting and reworkings of thought. It is to understand that what nonbinary means today is not what it can mean tomorrow. There must be a reengagement every day and that is something I cannot prescribe, it’s only something I can listen for.

CATACHRESIS /ˌkadəˈkrēsis/ -
  1. the use of a word in a way that is not correct, for example, the use of mitigate for militate.

mid 16th century: from Latin, from Greek katakhrēsis, from katakhrēsthai ‘misuse,’ from kata- ‘down’ (expressing the sense ‘wrongly’) + khrēsthai ‘use.’

Jacques Derrida in his practice of deconstruction says CATACHRESIS is an original incompleteness of meaning; the possibility of reading a text “wrong” to proliferate meaning. As Gayatri Chakravorty Spivak states that this CATACHRESIS extends into masterwords such as woman and worker and is the basis for an open ended reading of the meanings which construct our world. This project I have begun in CATACHRESIS is a kind of publishing, a kind of printing press, a kind of distributor, but with no prerogative except to extend the ability and access I have to put things into the world to artists and writers who have something to say. A project in debt to what Stefano Harney and Fred Moten lay out in The Undercommons: Fugitive Planning & Black Study in which they lay out the work of the subversive intellectual, the need to steal from the University. CATACHRESIS sets itself up to work with these artists and writers to help them put into the world the things which they thought would otherwise fester away in filing cabinets, sketchbooks, harddrives, and storage units. The work published has no limits, just as the book has no limits. If it cannot be printed in a book or book-adjacent form, then it is pointed to by the book form; I am sure someday soon CATACHRESIS will push past just the book format as well. First and foremost I wish to collaborate with passionate people and have conversations about what their work can do in the world, and make sure I do that justice. The world needs passionate people just as much as it needs new ideas, let us make sure that this work does not replicate, but push past that world we already live in.


submissions always accepted,
there are no guidelines for the content that can be submitted except that it be able to be at least pointed to by a book/zine/poster. if the submission is accepted then I will design and contruct a book/zine/poster of the content in conversation with you.
email any content you want considered to

Evan Fusco is a Chicago based interdisciplinary artist whose work seeks to challenge definitive notions of subjecthood through a reworking of pressuposed modes of being and looking. They have shown work in varying contexts such as in student shows, digital spaces, zine fairs, and independent art spaces. They were one of the recipients of the first year of the Creativity Works grant at the Cleveland Institute of Art. They have performed in multiple SKNDLSS runway performance shows, curated a small number of group exhibitions, and have self published multiple poetry books. Recently they were in a two person show with Elise Parisian at Apparatus Projects in Chicago, IL. They are currently attending the School of the Art Institute of Chicago for an MFA in Fiber and Material Studies. Recently they tabled at the Chicago Art Book Fair and their work is currently being shown among other artists in (dis)comfort zones Underrepresentation and Invisibility in the Institution: An Art Exhibition and Symposium at Carroll University in Waukesha, WI.


On Latham Zearfoss

CIA Grad Evan Fusco Opens Empathetic Solo Show For One Night Only