Photo: Tracie MillerDARKNESS
The performance was undertaken in complete darkness. No light reached my retinas for 5 days. In the 3 days before the performance began; 10 windows, 1 fireplace, front and rear doors of the space, known as the musicians cottage, were covered with up to 5 layers of industrial plastic coated foil. The space was absolutely light tight. The globe was removed from the refrigerator, where I stored cool water and some peppermint teas I had pre-prepared.
ABSTINENCE FROM FOOD
The intention to work in the dark and with aluminium foil was outlined in my initial proposal in 2007. To abstain from food was an additional parameter driven as much by curiosity to discover what effect this may possibly have in terms of art production, as it was by other artists who have used “fasting” in their performance practice; Marina Abramovic, Chris Burden and Rudolf Schwarzkogler. I don’t understand why we call them fasts, because everything became very slow.
ALUMINIUM FOIL
There is an integrity to foil that allows for its malleability as a sculptural material. Unlike other materials, it could tear easily, be given structural form and I could attach it to fixtures and furnishings without any mess or damage. Rarely working with metal, after the performance I came to better understand the way the aluminium resonates as a material. When compacted it has a solid metallic mass in defiance to the usual flimsy qualities we attribute to it during food handling.
In the weeks leading up to the performance I sought to purchase the 3km of foil from a wholesale supplier. In the course of my inquiries the brand manager of GLAD foil generously supplied the aluminium foil for the performance at no charge.
The performance was undertaken in complete darkness. No light reached my retinas for 5 days. In the 3 days before the performance began; 10 windows, 1 fireplace, front and rear doors of the space, known as the musicians cottage, were covered with up to 5 layers of industrial plastic coated foil. The space was absolutely light tight. The globe was removed from the refrigerator, where I stored cool water and some peppermint teas I had pre-prepared.
ABSTINENCE FROM FOOD
The intention to work in the dark and with aluminium foil was outlined in my initial proposal in 2007. To abstain from food was an additional parameter driven as much by curiosity to discover what effect this may possibly have in terms of art production, as it was by other artists who have used “fasting” in their performance practice; Marina Abramovic, Chris Burden and Rudolf Schwarzkogler. I don’t understand why we call them fasts, because everything became very slow.
ALUMINIUM FOIL
There is an integrity to foil that allows for its malleability as a sculptural material. Unlike other materials, it could tear easily, be given structural form and I could attach it to fixtures and furnishings without any mess or damage. Rarely working with metal, after the performance I came to better understand the way the aluminium resonates as a material. When compacted it has a solid metallic mass in defiance to the usual flimsy qualities we attribute to it during food handling.
In the weeks leading up to the performance I sought to purchase the 3km of foil from a wholesale supplier. In the course of my inquiries the brand manager of GLAD foil generously supplied the aluminium foil for the performance at no charge.
