A series of abrupt cuts in memory, action and location are connected via the artist's recollections of adolescence.
"Jordana Bragg’s wherever our river ran (i ran to, i ran too) (2016) evokes that most vulnerable of states; childhood. In a series of abrupt cuts of memory, action and location, the artist delivers spoken word recollections of adolescent trauma. Standing and kneeling in a suburban backyard, the artist shivers, trembles and shakes, a compulsive horror at odds with the supposedly safe space of ‘home’... Bragg reworks the past to undermine its power; a resistance through re-enactment, this time with the camera as witness."
Against a bright background, the artist performs acts of transformation.
The artist wears a contemporary adaptation of the virgin Mary's mantle in this video adapted from a live performance.
Three clips: a rose laid along the forearm, a piece of glass cuts the forefinger, a band aid is placed over the fresh cut.