THROUGH OUT THIS STUDIO I HAVE BEEN LOOKING AT SEVERAL SOURCES OF INSPIRATION. A FEW TO
MENTION WOULD BE EADWEARD MUYBRIDGE, HIS WAY OF PHOTOGRAPHING THE BODY AND ITS
MOVEMENT. ERNESTO NETO BECAUSE OF HIS IMMERSING ENVIRONMENTS AND INSTALLATIONS.
HIS ABILITY TO WRAP HIS ART AROUND THE VIEWER, MAKING THEM FEEL PART OF THE WORK. LAST BUT
NOT LEAST, IS ONE ARTIST THAT REALLY
MADE A GREAT AND LONG LASTING IMPRESSION ON ME: REBECCA HORN. SHE HAS INSPIRED ME TO WORK AROUND THE BODY AND PLAY WITH OUR SENSES, EXTRACT PARTICULAR EMOTIONS, AND SUPPRESS OTHERS. IN THIS STUDIO I COULD USE HER WORK AS A REFERENCE THROUGH OUT. IT WAS GREAT, SINCE I HAVE ALWAYS DESIRED TO WORK WITH THE BODY AS THE SITE. I FOUND HER WORK EXTREMELY USEFUL, AND IT MADE ME START QUESTIONING MY OWN WORK.
WE WANTED TO REMIND YOU THAT, JUST BECAUSE YOU ARE HAVING A BAD DAY. NOT EVERONE IN YOUR OFFICE SHOULD NEED TO
SUFFER. SO WE LOOKED AT THE VEINS AND BONES IN YOU HAND, WE WANTED TO FIND A WAY OF GIVING YOU A REMINDER, WHEN YOU START TAPPING THE TABLE OUT OF FRUSTRATION. THIS ‘GLOVE’ IS AN EXPERIMENT TRYING TO CALM YOURSELF DOWN AND MAKING YOU AWARE OF YOUR MOVEMENTS BEFORE OTHERS THROW COFFEE AT
YOU.
NEVER AGAIN
P.1
P.2
KEEP ME COOL, BABYLOOKING AT ACCESSORIES, THAT CAN BE WORN DIRECTLY ON YOUR
SKIN FOR A COOLING OR WARMING EFFECT.
HELPING YOU FEEL BETTER
WE
WAN
TED
TO C
REAT
E TH
IS A
TMO
SPH
ERIC
EX
PERI
ENCE
WER
E YO
U G
ET O
VER
STIM
ULAT
ED A
ND P
USHE
D TO
USE
NEA
RLY
ALL
OF
YOUR
SEN
SES
SIM
ULTA
NEO
USLY
. TO
CR
EATE
A S
PACE
THA
T LO
OKE
D IN
VITI
NG B
UT
GAV
E YO
U NO
THIN
G B
UT A
HEA
DACH
E AF
TER
SPEN
DING
TIM
E AB
SORB
ING
IT.
“ W
E SH
OU
LD H
AVE
CAL
LED
IT T
HE
HEA
DAC
HE
CO
OC
ON
” - T
EAM
DIS
CUSS
ION
“SITTING IN THIS COCOON SHAPED INSTALLATION ON A LATEX FLOOR TO WALL CUSHION, LISTENING TO A NOISE THAT CAN ONLY BE DESCRIBE AS STICKY,
HARD AND RAPID. LOOKING AT A SCREEN PROJECTING SPHERE SHAPED OBJECTS, MOVING STRAIGHT TOWARDS ME. I AM FEELING OVERWHELMED AND
EXHAUSTED, NEARLY CLAUSTROPHOBIC “ - Ella Mcllvena
CLAUSTROPHOBIC
PROJECT
P.3
DO I REALLY NEED TO APPLY A WEIGHT TO YOUR EQUILIBRIUM? IS IT NOT MERELY ENOUGH TO GIVE
YOU THE IMPLICATIONS THAT THERE IS SOMETHING ON THE SURFACE OF YOUR
BRAIN.
HUMAN BEHAVIOUR
P.4
GLITTER, FEATHER, CHAIN
OF YOUR EAR, OR WITH A LITTLE PIECE OF WAX THAT YOU CAN PUSH INTO YOUR INNER EAR. FROM THE PIECE OF WAX I ATTACHED DIFFERENT WEIGHTS, ONE HAD A FEATHER ATTACHED AND ANOTHER HAD A LONG BOAT CHAIN (MAID OUT OF PLASTIC). BECAUSE OF THE WEIGHT DIFFERENCE AND THE LENGTH OF THE OBJECTS YOU WERE FORCED TO FOCUS ON YOUR POSTURE AND YOU HAD TO TRY YOUR BEST TO KEEP YOUR BALANCE AND HEAD STRAIGHT WHILE WALKING. I RECORDED THIS PERFORMANCE, IT HELPS PUTTING MY POINT ACROSS, AND IT KEEPS REMINDING ME OF MY EQUILIBRIUM BOTH PHYSICALLY AND MENTALLY.
FOLLOWING YOUR BODY, YOUR WALK, YOUR POSTURE. WITH STEPS AS LIGHT AS FEATHERS OR AS HEAVY AS CHAINS OF METAL. I TOOK THESE FEELINGS AND BROUGHT THEM INTO A PERFORMANCE. WHERE THE BODY WAS THE SITE AND YOU GOT TO EXPLORE POSTURE, MOVEMENT AND SURFACE. I STARTED TO
EXPLORE THE ONE BODY PART WE RARELY THINK OF WHEN IT COMES TO POSTURE. THE EAR, TO BE MORE
SPECIFIC THE INNER EAR. IT HAS SUCH AN IMPORTANT ROLE WHEN IT COMES TO OUR BALANCE, AND HOW
WE FEEL. I CREATED THREE DIFFERENT OBJECTS THAT IS ATTACHED TO YOUR EAR, EITHER ON THE SURFACE
GAINING A GREATER UNDER-STANDING FOR YOUR BODY AND ITS STRUCTURE, HIGHLIGHT-ING YOUR SPINE AS THE CORE OF YOUR BODY. THIS PROJECT IS ALL ABOUT YOU FEELING BODY PARTS VERY CLEAR AND FIRM WHEN MOVING. IT LETS YOU MOVE FREELY TO EXPLORE YOUR STRUCTURE.
P.5
ALLOW YOURSELF TO FEEL
OTHERS TO OBSERVEEXTERNALISE A INTERIOR SENSIBILITY
