| 26 May 2020 |

1 – Oxford folder holding The Weight of Inheritance.  


| 27 May 2020 |

4 – a close crop of Jearld Moldenhauer’s photograph of Chris Bearchell and Gary Kinsman at an anti-censorship rally (1988-98). The crop is of Bearchell’s well-worn crochet and leather-palmed fingerless gloves. They appear to be hanging off of a belt loop, I assume for quick access.

6 – ISO a very very very large ponytail.


| 28 May 2020 |

1 – on page 246 of Jane Lind’s book “Artist on Fire” I learned of Wieland’s birch trees.

2 – they persist.


| 29 May 2020 |

A post-it note that reads: Only The Marble Will Speak. 

Hazel Meyer is an artist who works with installation, performance, and text to investigate the relationships between sexuality, feminism, and material culture. Their work aims to recover the queer aesthetics, politics, and bodies often effaced within histories of infrastructure, athletics and illness.   

Hazel’s current project The Weight of Inheritance looks to the legacy of Canadian artist and experimental filmmaker Joyce Wieland to work across questions of non-biological inheritance, dispossession, care and desire. She uses a motley crew of marble, holes, and trompe l’oeil to do this.   

Hazel presently lives on the West Coast of Canada with their partner Cait McKinney and dog Regie Concordia.

Intervals is a digital image commission that engages the in-between—intervening times, spaces, pauses, and breaks in activity—as taken up by artistic practice. Presented on the Mercer Union website and Instagram, this program invites artists to consider their experience of temporality through its disruption, and the sense of beforeduring, and after that is punctuated in the process of reflection.


Intervals is made possible with Support from Partners in Art.