Interface is an idea for a new body attachment i.e. body sculpture, in which I hope to achieve a blurred line between human being and machine. Connecting to previous research into the post-human.
INTERFACE.
TEMMAH.
10.00 am. 25/03/2015. Studio 7.
An experimental painting/performance using a metal helmet/exoskeleton with two wooden arms made autonomous through the use of magnets that exert opposing force within the arms: producing marks using thermal reactive paint retaining an opportunity of a continued event.
This performance is a continuation of experiments that explore the parameters of the human body and its awareness of the prosthetic. ‘INTERFACE’ aims to experiment with restricted body movement; due to the toxic fumes produced by the thermal reactive paint this performance cannot be physically viewed, therefore only the remnants of the performance is on view and a video footage of the performance from the perspective of the exoskeleton. This performance is a play on control in the mark making process as my vision is impaired by the helmet/exoskeleton. I am no longer aware of the marks produced, just movement. In addition, the exoskeleton itself is in a limited way autonomous, which further affects the outcome of the work. The lines between me and the exoskeleton become unclear in the action of movement. Essentially the installation offers the opportunity to view the performance from the perspective of the exoskeleton. A continuum of the event is provided with an invitation to interact with the painting.
‘Performance art seems to be everywhere, on the tip of everyone’s tongues’, but what really remains in our understanding of it? Two main strategies to collect live art still co-exist today. The first is to collect all the information and artefacts’ that surrounded, permitted, remained from the moment of the performance. The second requiring a greater effort, is to collect the original live experience (as paradoxical as it may sound), in order to bring it back to life.’ (‘Live forever: collecting live art’ by Teresa Colonje. 2014: pages:17-18).
