sculpture
Sculpture as an infrastructure for performance
Freezing Time (2022)
My cold plunge into the materiality of time in performance emerged at an exceptional time- it was the time of pandemic, a time which did not allow gathering, an essential element in the field of performance. I refused to give in to virtual performances and explored ways in person performances could persist, and so I began translating my one-to-one performance offerings into coronavirus compatible structures: I dedicated the first months of pandemic to a series of window performances ('Your Breath on My Window’, 2020) which were performances for a single household, viewed through the window at Glasshouse. I continued with Specific Gestures (2021)- a series of performance-based sculptures which explore the fragility and impossibility of intimacy (sharing of a bowl of soup, hugging, sharing a bed) when a transparent surface is defining what is seen and what is felt, encasing intimacy as a posture rather than as sensation. The coldness of the separation and lack of human warmth led me to work with ice, first as a powerful metaphor for the materiality of performance time, creating molds for performances. Then my research expanded to the broad histories and metaphysics ice holds- working with this transient solid material remains open ended. Indexing my work in ice: dragging the ice bones, embracing the hallah bread against my body as heat, and my most recent work in this series, translated my one-to-one performance ‘Comb My Hair’ into a chillingly intimate offering- a hairbrush cast from ice becomes the tool-at-hand for a performance in which an audience member steps forward to offer an intimate gesture using the metaphysic quality of ice- healing, cooling, transient. A signifier to my true goal as an artist- reminding future generations what it feels like to be human, through fragility, generosity and intimacy.
Specific Gestures (2020)
Acrilic sheets, vinyl, clay, pine
In this performance-sculpture series created during the coronavirus pandemic, each piece suggests a mode of contactless intimacy. The series explores the fragility and impossibility of intimacy when a transparent surface is defining what is seen and what is felt, encasing intimacy as a posture rather than as sensation. The title of this series is inspired by Donald Judd’s essay ‘Specific Objects’ which relates to spatial elements in painting. Each of these performative propositions rely on my past work with these same gestures, yet translates the seemingly simple gesture into a structure for a process.
Automated Daily Routine (2021)
An installation that translates my daily routine into an automated kinetic sculpture that activates and supports daily gestures on certain hours. A yoga mat is being rolled into the center of the room at 6am, a dress is gliding towards the window at 8am, an aerial fabric is dropped from the ceiling at 2pm, two metal files operate loudly on a bare mattress at 6pm, a chair slides its way to the center of the room at 9pm, allowing the performer to finally sit and look out the window- this subtle activation of objects serve as support system for my daily practice, yet if I’m not in the room what is left would be a cluster of threads and objects hanging. If Bergson titled his work ‘Time And Free Will’- I attempt to make present the free will of the performer, giving absence as well, a form.
Video Sculptures
A series of video installations activates an array of stainless steel domestic objects- a coffee mug (Public Eye, 2010) , a pot (Plate Soup, 2009), a meat grinder (Internal Combustion, 2010), a trash bin (Simple Human, 2013)- encapsulating video performances in looped gestures that could translate as representing the toil and turmoil of life itself.
Performance Remains
Nests and stone circles
