Dana Buzzee’s practice is an attempt to rewild the sculptural field, through examining the seductive quality of “stuff” as a form of social control via counter cultural semiotics, and from the perspective of a post-apocalypse practice. Utilizing a wide array of fabrication techniques and materials, shifted out of time and out of place to disrupt conventional trajectories, Buzzee works towards outcomes that help potentiate divinations of what may follow the end of the world.

Notes from The Chthonic Underground

 ...what haunts are not the dead, but the gaps left within us by the secrets of others.
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By way of a chthonian methodology that encodes systems of meaning into site and signals, Dana Buzzee’s sculptural practice remediates subcultural and visionary archives into aesthetic entanglements, reflecting on intimacies of cultural meaning by engaging speculative futures, their own time, and the past through archived communities. Caressing the archival is queer pleasure, or erotohistoriography, because the process of touching... creates a relation across time that has an affective and an erotic component.  Buzzee ferries the labyrinthine, cruising to transform desire across temporalities and existences. Bare to the risk of elation or dismay, Buzzee interleaves cusps of existences, whereby hauntings can flourish.Haunting is part of grief, grieving over the gaps left to and within each other by the unspeakable, because we are in and of this fabric of undoing. Without shared remembrance, we cannot learn to live with ghosts.  The medium, par excellence, of haunting is plastics, formed anew out of ancient, decayed corpses, chthonic yet infused with extraterrestrial mores; plastics are forever. The work makes 'place together', deposits, but is also buried with, encrypted. In our intoxicated world, there's nowhere out except through. How is it that so much of this toxic world, in [its myriad] forms... all laden with chemicals that damage us so sincerely, is encountered ...[pleasurably]?  Buzzee’s material praxes are a poetic trance through plastics—prophesied with astral lights, alchemical substrates, and sigils that open a portal into queer continuations. Buzzee indexes the virtuality of memory and the emotional fetters of things, eliciting their lyric potential: a haunting in reverse, suggestive of dreamworlds crossing the afterlife, or post-apocalypse we inhabit. Buzzee divines through apocalyptic imagination to remake the world, conjured as a queer site that allows us, despite the live burial under the heteronormative hegemony of the here and then, to dream the spatiality of a wherever; a cadence of solidarity.

‍An index of impermanence and a generator of difference, anachronism, and that anachronism par excellence, posthumousness, an Underground state, a necropastoral. 
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Buzzee intoxicates sites of incantation, invites other temporalities, libidinal structures, voices from beyond, and close encounters; a network of object-transgressions that compere occult meanings. To make out with our "hyper-reality strangeness"; doom screaming of the real and what shimmers on the bleak horizon of our new dark ages, where ambiguity and desire co-mingle.
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And taste... the gushing of the wave/ Far far away did seem to mourn and rave/ On Alien shores...
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Morris Fox
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