PREPARATIONI consulted with herbalist, Sophia Anastasiadis from Herbal Farmacy in Marrickville, Sydney. I wanted to ensure I was in a prepared state to undertake the performance and what I could expect during and after the 5 days. For the 6 days before the performance began, I eliminated sugar, caffeine, meat, dairy & my nicotine intake. I was put on a course of herbs to clear out my digestive system. I also reduced my intake of food to only include soft raw fruits and clear vegetable broths. The lead up process of observing my intake also better acquainted me with my digestive system and hunger.
SAFETY
I spent the first three days moving any excess furniture out of the space I was going to inhabit. These were the Kitchen/living/dining area, the bathroom and bedroom. There are two other bedrooms I was not going to use. I set aside a handful of clean clothes. I was nervous of blackouts, because with no light there was going to be no point of reference. I planned move very slowly in the dark. Tracie Miller, who is responsible for the artists in residence made a roster for staff to check on me over the 5 days. I had devised a system where I would gaffer tape a note to the back door after dark, or I would play the piano.
EXPECTATIONS
I approached the performance attempting to not think too much about what I was going to make. I had one request from my friend Della who requested a pony. (pictured) I was intrigued to see how the parameters of the performance would direct and dictate what would happen in material terms, both to my body and working with aluminium foil.
I never considered the performance to be the work. I was planning to make sound recordings and use photography to generate the art. The foil went to recycling. It was as if the performance was going to be the site of the work, but the photography was the art. Not until after the performance did I come to understand what a significant work Interior Foil Landscape became.
