Digital & analog limited edition print (50)
Digital & analog collage limited edition print (50)
You, the confidants, are invited into my space. You are invited to share in two moments of exchange; the speaking and listening of a transcription of the artist’s own words, activated by you, the confidants. The words have been transcribed from a conversation between the artist and an ex romantic partner. The installation takes place in two adjoining spaces, where you, the confidants are asked to partner with each other and share in the sometimes futile, sometimes banal, sometimes restorative moment(s) of romantic intimacy.
During the initial stages of creating 21:49 | 29/11/2018, I wanted to experiment with how participants might engage with the transcription and aimed to create a multitude of different participatory responses, recored via film. The participants were to partner together, nude, their identities obstructed by materials symbolising the location of where the initial conversation took place, namely the artists bedroom and conversely a womb.
Participatory installation of 21:49 | 29/11/2018.
You, the confidants, are invited into my space. You are invited to share in two moments of exchange; the speaking and listening of a transcription of the artist’s own words, activated by you, the confidants. The words have been transcribed from a conversation between the artist and an ex romantic partner. The installation takes place in two adjoining spaces, where you, the confidants are asked to partner with each other and share in the sometimes futile, sometimes banal, sometimes restorative moment(s) of romantic intimacy.
Inspired by research carried out surrounding the pluralities of female nudity, this film and subsequent stills seek to reimagine the female body as sheer sculptural material as opposed to sexualised media.
Inspired by research carried out surrounding the pluralities of female nudity, this film and subsequent stills seek to reimagine the female body as sheer sculptural material as opposed to sexualised media.
Sample of video artwork used in the installation “His Menopause Seems To Me A Mourning Cloak” (2018). Full artwork runs for 5 minutes.
Live Installation of “His Menopause, Seems To Me A Mourning Cloak”.
The imagery within “His Menopause, Seems To Me, A Mourning Cloak” have been generated using the Tristan Tzara “How To Write A Dadaist Poem” method. By randomly selecting word fragments from articles pertaining to various women’s diagnostic encounters such as mammogram preparation, after care post mastectomy and hysteria, a surreal dreamscape apparition has been generated, illustrating the poems facsimile. This is then projected onto naked models, thus rendering the performers nude and clad in said manifested nudity.
Live Installation of “His Menopause, Seems To Me A Mourning Cloak”.
The imagery within “His Menopause, Seems To Me, A Mourning Cloak” have been generated using the Tristan Tzara “How To Write A Dadaist Poem” method. By randomly selecting word fragments from articles pertaining to various women’s diagnostic encounters such as mammogram preparation, after care post mastectomy and hysteria, a surreal dreamscape apparition has been generated, illustrating the poems facsimile. This is then projected onto naked models, thus rendering the performers nude and clad in said manifested nudity.
See video below.
“Dissociate” (2015) is an immersive installation created for one audience member at a time. The audience member is asked to place themselves within the dissociation chamber, and is lulled into a pseudo-dissociative sate through means of video projection projected on each side of the chambers interior and conversely by employing the use of binaural beats. By activating the medial temporal lobe and precuneus through cognitive stimuli and sensorial seclusion, a dissociative state is reached.