Transfusing My Breath into Their Phantoms, Allusion

Performance/installation

Place: The Pharmacy, Scotland road, Carlisle, England (Movement, Change and Identity Exhibition)

Duration: 1 minute, 10 seconds – installation completed for 3 minutes

Material: Human form with feet darkened by dirt and hands painted white paint, sheet of glass elevated by stacked bricks, vinyl floor squares, dental records, photographic documentation of previous performances, saliva, white emulsion paint, hair, blood, soil

22nd November 2019

Dealing with themes of transformation, this Allusion manifested itself as a record of prior reflection. It was conceived during a week-long residency, in which I worked alongside, and in response to, a Kurdish refugee.

This collaborative climate encouraged a meta-cognitive approach to production, considering the extent to which a true understanding of external experience is possible. I accentuated the problematic notion of responding to that which is ‘becoming’, that which provides no fixed points through which prolonged, conceptual identification may be established.

I, momentarily, became an artefact, one which represented a previous set of experiences and unsustainable outcomes. Consequently, this cultivation and systemic relinquishment of identities rendered my measurement of selfhood futile. Thus, the problematic aspects and inevitable failings of my endeavour, shaped the performance and its functionality.

Photo credit: Mia Eccleston, Max Wilkins

Attitude of Mind | Totality of Deeds, Allusion

Performance/installation

Place: University of Cumbria: Institute of the Arts, Brampton Road, Carlisle, England (Breaking Ground Exhibition)

Duration: 3 hours continuous

Material: Human form dressed in black, white studio pillar, eight A4 photographs of previous performances, four A3 acetate brain scan images, lightbox, human hair, iron filings, soil, white cup, red and black glove, yellow and orange glove, plasters, bandages, paperback copy of Albert Camus: The Myth of Sisyphus

30th August 2019

Referencing the Unformed actions, I attempted to intertwine my international endeavours with my studio work. To connect two strands of practice, I made use of an in-practice catalogue of gestures – inhabiting allusive behavioural patterns and prescribed movements. The episodic continuity of my performances, along with their trace and residue, would allow the exercise to exhibit hermeneutical traits. Such would be achieved through the implementation of symbolic signifiers planted within the works processes and the re-appropriation of post-performance artefacts.

Photo credit: Mia Eccleston

Unformed, Allusion (2/3)

Performance

Place: Sokołowsko, Poland (Contexts: IX International Festival of Ephemeral Art)

Duration: 3 hours continuous

Material: Human form dressed in black, A3 acetate brain scan image, red and black glove

28th July 2019

Making my way through the streets of Sokołowsko, I presented the brain scan image from the previous performances. The very presence of this image implied a pre-festival set of events and circumstances having taken place, all of which leading to its existence in the work. Such would act as a surface-level indication of my allusive, self-referential tendencies – further establishing the fluidity of art and life.

Photo credit: Roddy Hunter

Unformed, Allusion (1/3)

Performance

Place: Sokołowsko, Poland (Contexts: IX International Festival of Ephemeral Art)

Duration: 3 hours continuous

Material: Human form dressed in black, A3 acetate brain scan image, red and black gloves, soil, white cup, scissors, electric razor

27th July 2019

Alluding to Unformed, 9-hour Endurance, the physical and psychological duality I faced linked my physical attitude to a previous state of mind. This was indicated aesthetically through my immersion with on-site materials and the inhabitation of performance persona – a set of calculated characteristics. In this case, I incorporated dirt from the site of the preceding endurance and shaving of the left side of my head.

Photo credit: Jerzy Grzegorski, Klaudia Gorak

Unformed, 9-hour Endurance

Performance

Place: Sokołowsko, Poland (Contexts: IX International Festival of Ephemeral Art)

Duration: 9 hours continuous

Material: Human form dressed in blue shirt and heavy duty trousers, A3 acetate brain scan image, red and black glove, bandages, stone pillar

26th – 27th July 2019

Transpiring in the outskirts of a forest opposite a disused Sanatorium, Unformed, 9-hour Endurance saw me engage in laboured movement around a single stone pillar – the trace of each pilgrimage being overwritten by the next, and so on. The works setting, a transformative space of social and psychological distortion, became a temporary residence for many visitors to the festival. Thus, the action was forced upon its audience – sharing their space, the place in which they ate, slept and socialised.

Photo credit: Judit Bodor, Jerzy Grzegorski

Proof of Action, Allusion

Place: Newcastle Street, Carlisle, England

Material: Black boots, two grayscale photographs

10th April 2019

Striving to expand the parameters of an allusive act, I set about encapsulating the experiences surrounding that part of me that lives on vague nostalgia. This would include; the journey to the site, scoping out the space and the post-performance walk home. Attaching the photographic documentation from the original action to the bottom of my boots, I would retrace my steps by returning to the site in which I engaged in the act. The aftermath of which would question that which is considered ‘art’ within a project’s timeline.

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