Reality Underpass – Sculpture

Bringing together the balloon forms in all their variety and a collaboration of found items, I created this sculpture/installation. The vague idea behind this piece is the ‘slipping through’ ‘unnoticed slipping under’ ‘underpassing’ of reality in our modern world. The idea was to use sand to represent true reality that passes underneath the arches and bridges of fast pace, quickest route technology and media that are drawing us over the away from reality in it’s purest form.

The rest of the sculpture has been completely up to my hands and mind at the time of creation. I moved the material and objects around the room in search of a positioning that I felt was right, and continued this process throughout the course of the sculpture.

I do really enjoy this intuitive way of working but as long as I have all the right tools and possible materials to use at hand and all my options around me. And as a result I got the large sculpture below that uses: oil sand, plaster mold and casts, found wires, found cushioning, found wood, melted keyboards, a plinth filled with sand,  polystyrene packaging in a bag and a projector and cameras.

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The projected scene onto the sculpture is a ‘live’ video of the sculpture in the space, the video can only go on as long as the sculpture lasts and thanks to technology, because I am videoing directly what I can see onto the thing I’m seeing, the projected image multiplies and plays back into itself. It creates senses of non stop, forever and continuation, expanding on ideas of constant digital attachment that will go on forever, it’s a bit like a black hole. Also, time in the video gets slower as the video goes further into repeat, there’s something fascinating  and disorientating about something in real time being repeated and changing in sync.

Again in this sculpture I intended for there to be a feeling of system or network going on. The veins of reality pumped into the solid balloon forms and seeping from synthetic substances like polystyrene or wire. The half bitty half clear foam softening and cushioning the weight of the hollow balloon molds that have been mutated to resemble rock formations. The key boards like a control panel for all of it, melted and distorted but still controlling the system of reality and roots of modern life. The video projection ensuring its long living stability and presence, repetition and technological overcast on the flow of the sculpture and modern life.

Using sand in my sculptures and using a process of placement and arrangement demonstrates the temporary and ephemerality of the moment of creation. You cannot move the sculpture without taking it apart and breaking it’s state, the sculpture has been built using lots of different elements especially considering the sand that has been molded into a shape there and then. The ephemerality of the sculpture combined with the reliance of the projection, on the sculpture (because the projection is OF the sculpture) both bare temporal elements that reflect the state of humans on the earth. The momentary existence and blink of an eyelid that we live for in the eyes of the universe is like the building and then breaking down of this sculpture.

Since doing my recent installation sculptural work, I have realised that I need to refine my working ideas. The subject of the anthropocene, climate change, the apocalypse, technology/information world and the desert and reality and living more and using technology less is what all my ideas revolve around and that is a lot to consider, it is such a huge mass of subjects. However, from the materials I am drawn to collecting and the general outcomes of my installations and sculptures, it seems palpable to say that I am constantly creating divergence and friction between organic substance and the synthetic, mass manufactured. I see that sometimes the contrasting materials work fluidly together and other times they seem to move abruptly against each other, constantly showing their differences and reflecting the way they work together in the wider world. From this point onwards, my sculptural and aesthetic awareness will be with this notion of division and juxtaposition of organic forms and natural life and that of the bold, damaging, now so familiar world of man made products, mass production and remnants of human existence.

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‘Live’ Performance 2

Simplified, refined version of the performance I previously did called ‘Live’ Performance. Advancing on ideas about the cyber, social media and digital world taking over our lives so much so that in reality it’s hard to say we are ‘living’ anymore. We are so involved with our online presence and increasingly so, for some, they are more involved with their online life than they are with their real one.

This time the character sits still, bolt up right and straight towards the camera and projector. You can sometimes see the whites of the characters eyes, watering, vulnerable and anxious, holding connotations with all emotional elements related to social media and technology. In ways, it’s as if the dark shape of the figure is the soul of the character and is having the ‘live’ video be projected into their heart, directly to manipulating their being and dissolving their reality in the dense network that runs through the wires in our houses and through the signals in the sky, beating the pulses of the modern ‘live’ world into their mind.

I think this is a good adaptation to my first performance but there is an uncomfortable, unease about the first performance that I really like and think adds to the notions it represents about our present and future social landscape and the way people feel and act within it. However, this second version displays the same ideas in a different way; here the character sits motionless and almost dead, behind the powerful rays of the ‘live’ video, really straining the contrast of the video with the actions of the character.

Live, live, live, live, live, live, live, live, live, live, live, live, live, live, live, live, live, live, live, live, live, live, live, live, live, live, live, live, live, live, live, live, live, live, live, live, live, live, live, live, live, live, live, live, live, live, live, live, live, live, live, live, live, live, live, live, but NO Life.

‘Live’ Performance

Using the video I made with found footage of TV presenters saying how they are going ‘live’ somewhere or on ‘live tv’, I did a piece of performance art. The ‘live’ video is being projected on a character dressed in a suit, representing the average male character of the Western world, mooching around a messy room aimlessly searching for some sort of meaning in objects or his surroundings but can never maintain interest in something for longer than a minute before looking for something better.The character looks tired and unhappy, the tights that have been used to hold a balloon above his head disfigure the face and give him droopy eyes and a misshapen nose adding a sense of synthetic disturbia to the character. Synthetic alterations. I included a battery powered flashing bow tie to the character’s outfit, a bow tie is often worn during middle class events or for special occasions, however, when flashing, there’s a sense of learnt humour about the look, like a clown or magician. Presenting the well recognised business man as a bit of a performer or joke.

The character searches for meaning and briefly examines objects before getting bored and moves onto other ones. Although not intended, this act illustrates a loss of meaning to the man’s life, he can’t find anything stimulating to hold onto, he has no interests, impatient, no reason for living outside of working, hence the empty alcohol bottle and temporarily finding joy in his car keys (his pride and joy). On the other hand, with the objects he finds, he sometimes attempts to pop the cyber bubble above his head but continuously fails – all the objects aren’t sharp enough to pop it, we have made our lives so comfortable and supposedly safe, and the cyber balloon is getting thicker and harder to pop the more we use it.

The video playing over the top of the scene is intense, potentially equating to how often he might go ‘live’ on social media or watches ‘live’ news or videos but counteractively depicts his lack of life and living in doing so.

The piece is a comment on how a large number of the West are beginning to live their lives. Living to work and for money, using and relying on social media for attention and information. Losing the ability to entertain themselves and enjoy their surroundings, increasing the thickness of their digital, cyber bubble and losing touch with reality and life.

Reflection: On reflection, I feel the piece is over crowded but has some strong elements to it. It needs simplifying as a video piece as there is a little too much going on, however, if I were to do it again, maybe I’d do the performance in a space that I’d stay in for 24 hours where people can come and watch me to strengthen the effect it has on people. I will take elements of the performance further; like the balloon and the video and use them in different pieces.