Canning

Mckenna Goade • January 15, 2025

Tongue Tattoos

Canning.
When I was little, at the doctor’s office with the Dr. Seuss drawings on the walls, Dr. Shore, with his glasses perched on the bridge of his nose, advised my parents to give us a spoonful of juice from canned peaches whenever we were throwing up and couldn’t keep anything down. So, when the B.R.A.T. (banana, rice, applesauce, toast) diet didn’t work, my parents would give us spoonfuls of that juice. To me, eating canned peaches still carries the aftertaste of bile. 
Canning is a process of temporary preservation. It doesn't serve as a means to archive, since its purpose is to end up in the mouths of others (and eventually their waste)—it’s not intended to remain on the shelf forever. These temporary preservations act as a temporary container for grief. The process of preservation itself highlights the loss of summer. The distance between us and this loss is (artificially) bridged in the act of canning. To eat canned food is to consume the echoes of the season. 
When my father was ill and nearing the end, he ate a lot of canned peaches. I thought it was because he liked them, but like me when I was little, he couldn’t keep anything down and resorted to the temporary preservation of canning to temporarily preserve his life.

When a human consumes canned peaches, the echoes of flavor remain, but nutrients are diminished (they are only pretending to be whole). 
When a human consumes canned peaches, they are tasting a memory. 
When a human consumes canned peaches, they are digesting loss. 
When a human consumes canned peaches, they are translating a vessel into a perceived void. 
When a human consumes canned peaches, do they enter the void? Do they near the end? 

printed on the surface of a stuck out tongue are the words
By Mckenna Goade May 2, 2025
Parasites and Poetics explores ritual and relational aesthetics through organic material, parasites, and the porous boundaries between humans and nature.
a tick runs across a greasy pizza box.
By Mckenna Goade April 22, 2025
Exploring porous boundaries, bioart, and the more-than-human, this essay reflects on ticks, touch, decay, and the agency of vibrant matter.
A lounge chair made of OSB with mushrooms growing from underneath.
By Mckenna Goade March 15, 2025
Swoosh traces sneakers, mourning, and sculptural flipping as a methodology of porous assemblage, where grief meets petroleum, soil, and the instability of form.
illegible text reflects through a mirror.
By Mckenna Goade February 1, 2025
Through edible messages and participatory ritual, In-digestion explores bioart, grief, and trans-corporeal communication—where language dissolves into body and memory.
an alage bioplastic sheet hangs from meat hooks
By Mckenna Goade December 15, 2024
In Composting Communications, grief, decomposition, and bioart dissolve the boundaries of life and death. Composting becomes both metaphor and practice: decay as communication.
 transparent skin-like bioplastic hangs on a wall. n the surface is a distorted image of a figure.
By Mckenna Goade November 2, 2024
Letters to Nowhere explores mortality through bioart, algae, and bioplastic—reflecting on breath, decay, and the porous boundaries of body and nature.
a small portion of green jelly resting on the artist's hand
By Mckenna Goade September 29, 2024
Exploring breath, and the aliveness of mortality, Does She Even Want to Be Braided? reflects on death, bioplastic, and the porous boundaries between life and loss.