Blindfolded art performance

I do explain a little bit about my project and concepts at the end of the video but I was slightly embarrassed and under pressure¬†when I was speaking so I didn’t explain very well.

This performance was my first ever performance with an audience but a big part of the performance was the fact that the audience would be visually unaware of what the performance entailed, they had to rely on hearing as their best and automatic sense to help them process and guess what was happening behind the blindfolds. As of this, I feel I am addressing and creating a void or space between the function of seeing and action of ‘performing’ as the most obvious point of performing in general terms is for people to see it.

I also did this performance on a Saturday at 12:00 midday, I thought this added to the overall effect of the performance because some of my small audience travelled for 20 minutes on a bus to see it but found out there wasn’t even anything to see, only experience and hear for as little as a minute which they may have found a little irritating.

Reflection: I have noticed the need for humans to ‘work out’ when they are either lost or unsure of something, it is interesting how we instinctively do this thanks to our senses. But taking away the most relied on sense that is sight, forces working out in another way. What if I was to do another ‘getting lost experiment’ but I remained blindfolded the whole time so had no use of sight to help work out where I am. I like how my choice of camera angles adds and reinforces the non seeing aspect of the performance through the video so that no viewer of this video will ever know what happened when the blindfold went on. I am also intrigued by the unknown. It raises questions about whether you really know or have proof that there is someone performing behind the blindfold if you actually can not see the thing happening that you think is happening. There is a conceptual space within statement like “only be there when are there” which is something I wrote at the very beginning of this project. Also things like “only believe it when you see it”, do you believe things that you believe because you have been told them or because you have experienced them first hand?

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In between objects body sculpture

Another exploration of surrounding and location. These objects attached to me with wool were also picked up during my time in the lost in between. I challenge whether being surrounded by objects located from somewhere else could mean that you are back in the place that they were originally found. If they are attached to you, have you become part of their location – you are now one with the objects or are the objects still completely different pieces of matter? If they are attached to you then they are with you until you remove them there for arguing that the possible space in between that you are recreating, moves with you and isn’t just a circle to step in and out of.

I also recorded the incredible noise that was created from walking around with it all attached to me, I don’t know what I will do with the sound memo yet but it will be supporting ideas around comparison to the original more calm noise recorded during the time I picked all the objects up.

Reflection: what if all the objects in a space were attached to me and released of their potential sound and noise, could I argue that this is the true sound of your surroundings? – when everything is experienced to it’s full potential? What is the potential of collecting many objects all from a new moment or space (location) in between and bringing them all into a new space and exploiting them of their inner sounds to create a new sense of in between. This could even support popular current issues about equal rights and freedom of speech, or even how we need to listen to and consider our surrounding more as our natural environment is in need of extreme attention as soon as possible, as if the surrounding environment is crying out for help.

Notice my walking in circles. I strengthen the idea of being surrounded and within something, or a place or contained by something. The objects I found in the lost in between are surrounding me and attached to me, but in addition to this, I walk in circles and surround another place of land, space and time with the objects from before. How does this sit within my concept in terms of where this new place sits within time and space.

Lost Stones Performance

When I did the experiment/ performance of getting lost in the in between where a friend drove me blind folded to a place I’d never been before, I picked up objects from the surroundings . In this performance done in central Falmouth, I reposition the stones picked up from the harbour around me challenging the notion of location and whether this could mean I am within that ‘space in between’ once more. What defines a place – surroundings, a feeling, geography, visuals, objects?

Reflection: consider the understanding and part played by the circle within the performance. What does the shape of the circle mean? To stand within a circle you are surrounded and this is a fact, standing in a circle means you are ‘within’ something, and you also within whatever the circle consists of or is made from. For example, I am within the stones that surround me in this circle of lost.

LOST is an in between

Here, I am exploring the concept of being in the ‘in between’. In this case, the experience of being lost is addressed as the ‘in between’.

Being lost is when you experience being somewhere you have never been before (psychically or mentally) , you have no memories of this place, spacial understanding or awareness and instantly after the realisation of being somewhere completely unrecognisable or unfamiliar, we instinctively begin to try working out where we are. Looking at the idea of being lost in this way paints it as a kind of void when you consider the empty feeling at the specific moment in time when realising you are lost.

I got a friend to drive me blindfolded somewhere I’d never been before so that i could experience it myself. I documented the whole performance/experience through voice recording, automatic writing, video and collection objects from the surrounds of this in between moment.

Reflection: If I were to ‘get lost’ as another experiment/performance then I don’t think I’d include myself within the documentation video, it seems more surreal without the inclusion of myself there, plus it forces you to focus on the voice and sound over the video which I think would improve the outcome.

Psychedelic Helston Cornwall

A short film I made about an arts event in Helston held on the 29th October called Samhain. Here they showed some original art films from the 70s, musical and art performances, all of the evening was amazing, it was held in an old school house still decaying and unchanged, currently being turned into art studios. The small organisation that hosted the event are called CAST (Cornubian Arts and Science Trust), here is a link to their website: http://c-a-s-t.org.uk/

The entire evening was surreal and strange, psychedelic music and lights, foliage hanging from the ceiling, people dressed up doing strange things. All performances were extremely intriguing to me, I’d never been to something like this before with pagan vibes and REAL ART PERFORMANCES! Extremely inspiring and has encouraged me to want to do art performance myself.

Psychedelic London short film

As a result of my first video about the spaces in between, some feedback I got was that it seemed psychedelic and surreal, there for during a study trip to London I decided to make an experimental video throughout the trip then see how I could edit it afterwards:

Reflection: possibly shorter cuts to see whether I could build more tension or interest for the viewer, I tried to create a hypnotic kind of motion about it to lure the viewer into a sort of trance, working out what the images were and whether there was a narrative or not. It does appear bizarre and it was a good opportunity to improve my video skills and explore editing.

Creating sculptural space

Short video about actually creating spaces in between, through perception, light and movement. Your perception of the first shot can create multiple understandings of the dimensions of the sculpture and as it goes on you come to terms with what you believe is physically there and what’s not, there for create your own understanding of space. In the second shot the shadows of the attached triangles continuously create the visible spaces that are constantly changing in size, and length. In the final shot, I remove the pieces of triangular chipboard that were originally making the ‘spaces in between’ and as I remove them, further spaces in between are revealed when the glue peels off.