‘I, I’ constructs ‘bodies’ as attempts at; or furtherings that initiate substrates to be acts of reading. To approach the context of the stage as a configuration that is multifaceted, a construction that enables both a striving towards a surmised ‘ideal’ of grace, all while said grace is etched away until only the grinding of a bone against bone is left. Grace as a misnomer, as a burnished surface; Flanders’ approaches with a stark curiosity alongside a material’s physicality. It’s translation as a mark against skin. Against wall. A like pair of wardrobe shipping containers slicked in graphite, the floor, the print of a hand against its face; timed and installed in a discontinuous cycle of both exhibition lighting and time of the galleries open hours. The work alludes to or more so is adhered to its end point. Where a material begins, a container gives, is given away, and is reutilized. ‘I, I’ contends with where these original contexts of performance then translate in the ever present contemporary, and how these contexts shift once the individualized provincial becomes skewed.