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Afterlife Loss,bereavement, and obsencetriggerthe work ofthe imaginationond nourishit permanentlyas muchas threatenond spoilit.

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At firstgtance, Honda's "Transfer Pictures" doesnotappearto constitute theworkin Margaret a tableauwrought Hernon-objective of metancholy thingliness. shapesandformsinitialtylookmoretiketheafterimage of a camera ftash,whenone'seyes,baretyadjusting Movingin closto thesuddentight,canonlydiscern schematic outlines. er to thework,onecanseea motleyassortment of strange shapesandrestless linesextending to theside,while Atthough herworklooksandfeetsfar frommetana colorfuIarrayof organic-looking shapesdrapesthe horizon. cholyonthesurface, a comptex artisticoperation liesunderneath, revealing thevisualeffectsof anongoing transformation of loss.

Honda's losses Shemourns thepassing of hermother, a dressmaker andearlyinfluence onherworkmetharepersonal. hertifeat thestartof her"professional" artcareer; herchitdhood home,whereshehadher ods;herdog,whoentered firststudio;and,now,theanticipated lossof herfather,whowasrecently diagnosed withlungcancer.

Theselossesare process imperceptible withinHonda's installation-infact,shegoesthrougha systematic to erasethem.lt mayseem counterintuitive, then,to foreground theselosses, butI propose thatit is lossthattriggersHondabimagination andart, in a fashion Kristeva in theepigraph similar to thatdescribed by,lulia above. whichhasbeendefinedas the "intention Lossevokesmelancholia, to mournthat precedes andanticipates the lossof the obiect,"whichin turn constitutes a necessary component of the creativeprocess, as theorized by Kristeva, GiorgioAgamben, and BrachaLichtenberg Ettinger, amongothers.'The compulsion to anticipate impending losses, andto embrace currentones,is vitalto herartisticpractice, as canbe seenin Honda's ongoingprojectry97-,inwhichtheartistdrawsherpetturtleeverydayuntileithersheor it passes away.In "Transfer Pictures," Hondaattempts to retainandmaintain an unrecoverable lossby endowing it witha material existence in andthroughremains-aprinteddiagram of a [ung,a tatteredbit of tailofscarbonpaper,or somefamilyphoprocesses tographs.

Herprojectcallsfor a rethinking of the termsof mourning and melancholia as dialectical ratherthanas an either/or.

Freud's classic 1917essay farfromthelastwordonthematter, nevSigmund on mourning andmelancholia, atthough provides conventionalty interiority, withdrawertheless a usefuIintroduction to thetwoterms.Melancholy suggests yetevenFreud is difficult al,andcontemplation, acknowledges thata trueunderstanding of melancholia to arriveat. grieves Whitemourning for a literallossthatresults in a "decathexis," Hedistinguishes between thetwoasfollows: melancholia thebreakingof anattachment, loss,refusing to let go,andinsteadrelocates the fixoteson an imaginary givesthetostobjectanothlossin whathe calts"theregionof memory-traces of things."Inotherwords,mourning er material existence in andthrougha process ofsubstitution andre-investment in anotherobiect, whereas melancholiamimicsandintensifies thisprocess of mourning, transferring theobject"within"oneself by incorporating its metonymic tracesandtheninternalizing it withina psychic topography.

Bothinvolve multipte levets of substitution, in whichmourning freestheoblect,atlowing it to bereplaced bysomething else,whilethemelancholic replaces the objectwiththeself(theego).

Honda's lossesarea[[but unrecognizable in herwork,a circumstance thatsuggests shemaybe hereperforming mourning, freeing displacing it with But an actof theobject, something else. an exptoration of Honda's art-making processes fidetityto the lostobject,an insistence suggests something different: a passionate on its priorinscription. lndeed,in the four componentsthat comprise"TransferPictures"-Building,Picture,Exchange,and practice notontyreftects Transfer-Honda's a blurring of thedistinction between mourning andmelancholia, buta production of becoming, a re-presenting of loss.

I amthe reference myastonishment in addressing of everyphotograph, andthisis whatgenerates question: myself whyis it thatI amalivehereandnow?' to thefundamental ln Building[zoo4;graphite on draftingfitm;6ox474in.;detailpictured],1Hondarenders a seriesof shortrightangle,staccato-like linesandjaggedspurtsthat lookfromafarlike musicalnotes.Uponcloserinspection, the geometric repeated linesdo notseemso random, butratheralmostrepresentational, withtwo linesforming a corneror symmetricatly Theyaresuggestive curving to designate an archway. of a room,possibly, or a staircase, the Infact,thecode-like backof a chair,or a sofa'sseatcushion. marksareactuaIoutlines oftheexterior andinterior of thehousein whichshegrewup,located in a working-class neighborhood of SanDiego, California.

Traced froma cotlectionof familyphotographs in whichHondaherself appears, thefirstoutlineis froma photograph of hermother proudty hotding newborn Margaret.

Inthisandallsubsequent tracings, Hondaisolates certainmoments whileevacgraphic humanfigures, resulting in a series fragmented formulations uatingor erasing a process of ghostly, of a place in childhood memory, embedded of a placesheonceknew.Arranged atongthetop edgeof the paperandleaving mostofthe sheetblank,the clusters Room, ofshapesextendaroundthe hiddencornerofthe Drawing expanding intoa figurative ontotheshortwall,spatiatizing andcoltapsing a sequence of linearmoments simuttaneity.

unfolds-or,perhapsbetter, a differentkindof relationbetweenmemoryandexperience AcrossfromBuilding, pi cturedl ,2thedraw i ngofherbetoved detai t Pi c tu re l z o o 3 ;g o u a c h e o npaper;42x396i n.; bec om es dis f igu re d -i n (somebothsystematic andsemi-perverse In a procedure whichis madethroughthe useof stencits. dogScooter, that of thephotographs thesections arranged, andtapedtogether sticed, Hondacarefutty whatakinto mutilation), paper)to createoutlines ofthedog.Onthe theedgesofthe photographic werenot herdog(e.g.the background, of which spaces shape,thenegative or Rorschach-like page,thevariantof herdogtransforms intoa kaleidoscopic Hondabuildsand or velvetymattesurface. creating a modulated of btackgouache, Hondafillsin withthreeshades Marey'slate-nineproducing of Etienne-lules a serialeffectreminiscent strandsof stencils, extended overlaps wereusedto registersuccessive in whichmultipteexposures of chronophotography, technique teenth-century ptate. moments on a singlephotographic by herreadingof Raymond whatno longerexists,is impressed herdog,to regenerate to re-create Thiscompulsion throughhisvast who leadsan expedition Thebookcenterson MartialCantarel, r9t4 novelLocusSolus.o Roussel's Thomas Inspired by inventor inventions. andamazing contraptions, unheard-of wonders, estate,a ptaceof historical journey, of amongthe manyhighlights takesthe readerthrougha fantastical EdisonandwriterJulesVerne,Roussel scenefromtheirlivesorthemomentbefore repeatedly enacta significant inwhichcorpses whichis a seriesof dioramas Cantarel of deathandreanimation, theseaccounts lovedones.Atongside bytheirsurviving theirdeath,as requested sparing Hecelebrates thewaytheyviolentlybreachnatureandartifice, devices. of hisbriltiant expounds theintricacies park his the secrets of thatatt andendshistouron the lastpageof thenovetby"...declaring no detailof hisingenuity, [are]nowknownto us..." pre"animated with pastlivesandlostlovesthatare,paradoxically, engagein experiments HondaandCantarel dead the to "raise" attempts and compulsive repetitive Whereas Cantare['s ciselyby whatis nof recoverable."' projectis aboutsettingin motionmanifotd Honda's reenactment, dependon a circuitous throughreanimation a tostobiect.Inother oftrauma or recuperating a restaging rather than experience anew, waysof seeingeveryday to loss her relationship to the unrecoverabte, attachment a stubborn Cantarel share Honda and words,although engagement of a continuous ontoa fixednotionof thepast,butratherconsists or hotding is notthatof a grasping withits remains. which,as indexicat homeanddogarefamilyphotographs, herchildhood fromwhichHonda"revives" Thesources are mori.Andyetthe photographs memento signsor linksto the reat,uphotdthe mediumas the quintessential mechanism of reproducas..."a insofaras photography, themselves fromthe actualobiects onceremoved already tenuousrelaof an image."'Honda's else...the emergence not the samething,but something tion...reproduces, illustra' scientific precedent in the nineteenth-century imagefindsan interesting tionshipwiththe photographic foundits per' of appearances to a literality commitment andartistAnnaAtkins.Atkins's tionsof Britishnaturalist the lightofthe sunanda piece in whichan obiectplacedbetween a technique in the photogram, fectexpression in the on the page,withoutanymediation, its identitydirectly image,registering a specimen's of paperreinscribes result-Honda's fromits end powerof inscription-but diverging Mimicking the photogram's formof a sithouette. trace theindexical complicates Herrecourse to drawing norprecise. shapes andtinesareneitherrepresentationat page and the herselfto the permits affixing Literally usto see."7 whatit "beyond herownsetofdesires byencoding making the of relation, in the absence by fitting a moment watt,with pencitandbrushin hand,Hondatranscribes practice of abstraction. right an aesthetic in own through images of herdogandhomeasimage-obiectstheir of lossthatis muttipte. andprevention thanthe production is lessan actof narration Pictures" Honda's "Transfer plan, Honda's for example, or a tegible a concept and make accessible design to Ratherthanusinga schematic reorganizits ob.iect, independent of and lingeringfeelings generates meanings registers ambiguous and schemata In otherwords,by paring in andthroughabstraction. its meaning quatities andthentranstiterating ingan obiect's in which herdogandhousenotintoan exactnegative Hondatransforms fromthe photograph, awayaltspecificity in whichsheinstitlstheobiect's in the other,but as an ideatization whatis absentfromthe onewoutdbe present vinylon Mylar; that,at leastin thecaseof Exchongelzoo3-o4; composition "quality"or "aura,"bywayof a distitted Ketty. of Eltsworth shapes picturedL3 to the biomorphic seems akin detait variable; dimensions etements, 5o of lungstakenfromananatomy shapes basedondiagrams candy-colored vibrant, organic, Hondapresents ln Exchonge, of the thevarioussections between Mylarcreates an interface multipledisptayof lungson transparent attas.Honda's book Heruseof theexactcolorsfoundintheanatomy in theirstructures. oneto seecorrespondences tungsthatenables worth a lifetime's in a lung'scolorfrompinkto grayasit processes in tightof thenormalchange interesting is particutarty thatmakeup of the lungin eachof the 5o elements andorientation Alteringthescale,proportion, of carbonpartictes. fragment of a gray,mottled, lungfor a detectable anddeteriorating as it were,herfather's the piece,Hondaexchanges, (in near weighttessness). to anactuallung's anddensity contrast of bothbuoyancy cotorful onesuggestive brightty almostnonfor herfather's fragments, offeredin exchange of thesetuscious-tooking multipterenderings Honda's whose attitude gesture The metancholic, melancholia, of of lossanddisavowal-a tung,pointto a refusaI functional

towards thelostobjectis passionately felt,staves offthelossthrough a process of incorporation, a process in which resid uesof thelostobiectareinternalized bythegrieving subject andtakenupaspartsof him-or herself.

Putanother way,melancholia, asa psychic turninward, re-presents a lossor a seriesof losses.

Inthissense,melancholia is notregressive, butimpticitly isalways a process of becoming.

Honda's delicate cuttingupandgtuingof thestenciled images of herdogandhercareful selection of bursting cotorsandfragmented curvatures of a placethatno longer existsspeaktoa devotion to a seriesofobjects thatcanontybe reanimated andtransformed by anartisticprocess thateschews mediation.

Heractions canalsobeinterpreted asmultiple substitutions thatpressure a re-articulation oftheobject,anexpression ofgriefinandthroughherretationship to theobject.Evenaftera "propermourning," in whichoneobjectis replaced byanother, a senseof setfmaybefuttyinfected bytheresidues andremains of thelost object,in whichcasemourning is a process withno beginning or end.Honda's drawings makeusreconsider mourning andmelanchotia in tandemratherthanas an either/oropposition.s Herattemptto retainthe remains in and generates througha visualtransaction andtranslation a seriesof residual anddurable drawings of memory, openinganother dimension of expression thatis uniquely herown."Transfer Pictures" becomes botha gesture of letting go andof modulating loss,At thesametime,herturntowards abstraction deniestheobserver a director one-ononeidentification withanyparticutar [oss.Toexperience Honda's drawings is to enjoythesensuousness of shapes andcolorsandto sensethepresence andabsence of things.

Transfer consists of two loosesheets,oneof waxpaper,the otherof tailor'scarbonpaper,bothinsertedin the Drawing Papers.

Thepigmented carbonpaperis partof a drawing at actuaIsizeof Honda's firststudioin hermother'ssewingroom(thisspaceatsoappearsin BuildinQ.Similarto Building,the linesandshapesin Transfer correspondto actualelements of the room,suchas,for example, the doorsandmoldings, In contrast to Buildingand Picture, the transferandwaxpapersforma positiveandnegative pigment imageofeachother.Therubbed-on becomes thepatternof a spectral space.

Thewaxedpaperbecomes theroomitself,a drawing thatis alsoa sculpture."a newversion of theother."e Freudexplains thattheworkof mourning consists in bringing to consciousness memories of thelostobject"bit by process bit."Honda's negotiation withtossis notmerelyan individual andisolated buta collective oneaswell.In pastworkssuchas RectoVerso(1994), shefocused on the mechanism of perception, alluding to a personal case of strabismus, a visualdefectin whichone'seyescannotfocustogether on an object.Through varioussculptural obiects andsituations, Hondadrewtheobserver in bymaking providing strange theactof seeing, anindirect experienceofhercondition.

In"Transfer Pictures," lossis reflective, andmoreinterestingly, thetracesoflinesandshape arethe resultof the modulation andregeneration of memory.

Through a strategy of fragmentation andtransformation, Hondacutsup the largedrawingof hermother's sewing roominto 468 differentpieces,with eachindividualDrawingPapercontaining r1468'n of the whole.Thedistributionof the papersthusdisperses the drawing, makingit not lostperse,but unavailable andirretrievable.

At the sametime,the insertsserveas mnemonic tracesof Honda's loss.Theyextendbeyondthedurationof the exhibitionandthewaltsof theDrawing Room,invariably opening up thepossibilities for moreincarnations of anafterlife thatknowsno end.

1.JuliaKristeva, BlackSun:Depression and Melancholia, trans.LeonS. Roudiez(NewYork:ColumbiaUniversity Press,1989),9.

2. GiorgioAgamben,Stanzas:Wordand Phantasmin WesternCulture,fians.RonaldMartinez(Minneapolis: University of MinnesotaPress, t993),zo,SeealsoBrachaLichtenberg Ettinger!conceptualization ofart and melancholia in DrawingPapersz4: TheEurydice Seles, edited by Catherinede Zegherand BrianMassumi,r7-rzz.While, as I understandit, Lichtenberg Ettingerconceives of art as the affirmation and transmission of memorytraces,of work as markedby a traumaticeventmarredby lossthat cannotbe narrated,Hondais moreconcernedwith the modest,intimate,and nuancedlossesofeverydaylife-though both artistsprovidea newmodelofregenerative thinking.

RichardHoward(NewYork:HillandWang),84.

3. RolandBarthes,CameraLucida,trans. practicecombinesscientificinquiry(inspiredearlyon by herfather,a gardener), aestheticinvention(Anna 4. Honda'sartisticandconceptual Atkinsand Etienne-.lules Marey),and an eclecticselectionof literature,includingtocusSolusandthe shortstoriesof PatriciaHighsmith.

AfterLoss,WhatThen?" in eds.DavidL. EngandDavidKazanjian's loss (Berkeley: University ofCaliforniaPress, 5. JudithButler,"Afterword: zoq),468.

5, EduardoCadava,Wordsof Light: Theseson the Photogrophyof History(Princeton:PrincetonUniversityPress,t997), tzo, RichardHoward(NewYork:HitlandWang),59. I am thinkinghereof Barthes'conceptuatization 7. RolandBafthes,CameraLucida,trans. of the punctum.Thepunctum'sfunctionis twofold.lt functions,on one level,as an additionand supplementto the detailsofa photograph.

0n anotherlevel,the punctumfiguresas a wound,a puncturethat defamiliarizes the alreadyknownand illuminatesdetailsthat at first g la n cese e min sig n ifica n t.

8. lf seenas verbs,the generictitles- Building,Picture,andExchange-alsoimplya doublemovementof productionand becoming, opening up a realmof tracesopento signification, what Kristevadescribesas "signifier'sflimsiness"and what JulianaSchiersari explainsas beingdue to "the verydefinitionof melancholia, in Freud'sterm,'fluctuates,'thereby resistinginterpretative closures"andenablinga variety of conceptualmoveson differentregisters. datedJanuary28,2oo4.

9. Statementfromthe artistin an emailexchange

in part,withthesupportof Pictures" is madepossible, Transfer "Margaret Honda: for theVisualArts.

TheAndyWarholFoundation TheDrawingCenter's exhibitions documenting Thisis number45 of the DrawingPopers,a seriesof publications andprovidinga forumfor the studyof drawing. andpublicprograms to the Edward Thezoo3-zoo4seasonof the DrawingPopersis madepossiblethroughgenerouscontributions RobertDuke,Elizabeth BeattyAdler,Maryand RobertCarswett, Programfrom Frances HallamTuckPubtication The MichaelLynne, WernerH. Kramarsky, KathyFutd,EttenGallagher,Mr.andMrs.JamesR.Houghton, Fondaras, Inc.,andLilyTuck.

RohatynFoundation, FelixandEtizabeth

Dircctor Catherinede Zegher,Executive dent GeorgeNegroponte,Prcsi Boardof Dlrectors FrancesBeattyAdler,Chairnon EricC.Rudin,wce-Chairman DitaAmory MelvaBucksbaum Dittmer Frances ColinEisler Factor Elizabeth BruceW.Ferguson R.Hedges, lV James WernerH. Kramarsky* AbbyLeigh Wittiam S. Lieberman MichaeI Lynne lrisMarden Orentreich Catherine Rohatyn* Elizabeth Sadaka JaneDresner A[[enLeeSessoms Michaet Steinberg C.Thayer* Jeanne Andrea Woodner tEmeriti Drawing CenterPublicatlons Executive Editor AdamLehner, Designer LucDerycke, AnnTarantino, Coordinator Center TheDrawing Street 35Wooster NewYork,NY1oo13 Telz ztz-zr9-2t66 Faxt2t2-966-2916 www.drawingcenter.org Center @zoo4TheDrawing

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