Return to a Point of No Return, 2025

Muscarelle Museum of Art
on the campus of the College of William and Mary
Williamsburg, Virginia

March 24, 2025

Return to a Point of No Return, 2025
Donated CD and DVD discs, aluminum, monofilament, cable ties, ratchet straps, and hardware.

Music devices and recording media visually recur in my artwork as metaphor for exploring fickle appetites. The CD is situated in a technological history of automated devices that read inscriptions and codes to reproduce experience. My studio practice is inspired by cyclical patterns, human ingenuity, wormholes in science fiction. Crafted to be desirable, her sculptures explore fickle appetites as values and desires change.  As one’s favorite movie or song becomes less desirable and is replaced by another, this sculpture is made of past desires and is built as a loop with no beginning nor end with glimpses along the way as hidden systems and information structures that underlie everyday life surface.

Working with a fabricator in Dallas, Texas to create the bespoke exoskeleton, with studio assistants in Norman, Oklahoma to prep the wall connections and tie the 4,500 discs into strands, and with museum staff, interns, students, and volunteers for one-week in Williamsburg, Virginia, Bajuyo wove together these teams, plans, and disc donations into sculptural horns. This site-specific installation includes five sculptures across the first floor of the Muscarelle Museum of Art. Designed for indoor and outdoor viewing, the entirety of the artwork cannot be experienced at one time encouraging exploring and imagining invisible connections beyond the walls and ceiling.

The horns appear like portals connecting the two ends of the museum. If portals, this connection brings one back to the same place only to loop back around in a cycle.  Being stuck in a cycle is not apparent and it can take a farther and more objective view to recognize the repetition.