Open Access Performance, 2016, 3 hours, Loughborough University Fine Art Department

 
 

This piece was a parody of the work of a well known artist which was placed in his office. It was a comment on traditional and historical forms of sculpture raising myself up on a plinth linking to high art. The use of props were in reference to what materials and objects he uses for his own artist practice and also add an element of humor to the work. The audience felt obligated to stay in the space as it was an authoritative persons artwork and they were forced into and stay in this environment.  


Serra Performance, 2016, 1 hour, Loughborough University Fine Art Department

 
 

Serra performance was performed in a busy corridor this is so I could force the audience to take part and interact with the artwork. I made my whole body black and glossy to parody a Richard Serra piece of work, as I aimed manipulate it into a performance. I placed the bucket on my head to reference the humor of the ‘Open Access Performance’ and to objectify myself so the audience question who/what I am. I instructed a man to stand at the entrance of the performance telling the audience “The artwork is delicate, please remove your socks and don’t walk in the box.” This was to add humor to the work and also justify myself as being an artwork. It promoted laughter as the spectators either complied with the ridiculous instructions or they avoided it or they walked up and then turned around to avoid it.

 

A Midsummer. (2016). 1 hour. Shakespeare Exhibition. Loughborough University Fine Art Department  

 
 

A Midsummer Performance was performed for the Shakespeare Exhibition at Loughborough University. It challenged the way art is viewed by placing the performance in a small space and only allowing the audience a gap low down forcing them to manipulate their bodies to see the artwork.

 
 

The performance in this space involved me and another artist on top of two different sized plinths and wearing plinth helmets with cups of water on them. The small plinth was used as a comment on ‘Toppling Sculptures’ as the artist on it struggled to balance on top of it to the point the water fell on the floor. The performance was constructed to act against traditional forms of sculptures referencing Michael Craig Martin’s ‘Oak Tree’ with the glasses of water. The use of black clothing was to allow the spectators to still relate their bodies to the bodies of the performers.


Untitled Plinth Series (2016) - for the Loughborough University Exhibition Catalogue   

http://www.lboro.ac.uk/departments/aed/degree-show..
 
 
 

Untitled Plinth Performances. (2016). 1 hour. Loughborough University. Degree Show 2016

Day One, 1st Plinth Performance for the Private View 

 

Day Two, 2nd Plinth Performance 

 

Day Three, 3rd plinth Performance 

 

Day Four, 4th Plinth Performance 

 

Day Five, 5th Plinth Performance 

 

Day Six, 6th Plinth Performance 


Untitled Plinth Performances. (2016). MASS Exhibition at the Free Range Gallery on Brick Lane 

http://mass-catalogue.com/

 
 
 

Red?!?!?. (2016). 2 minutes. Arts Admin - Toynbee Studios. Tactics of Interruption Lee Campbell

http://www.artsadmin.co.uk/events/3885

 
 

This performance I did for Lee Campbell: Tactics of Interruption was an adaptation of my living sculpture performances. I kept the audience in suspense by tempting the needle closer to the balloon. The audience were concentrating on two things, the question and answer session and waiting for me to pop the balloon. I wanted to create this moment of shock within the audience.

 

Average Art Magazine August Edition - Plinth Performance Published page

 

You Don't Need Eyes To See You Need Vision - Performative Lecture - Assisting in Lee Campbell's Performance

 
 

I was invited to assist Lee Campbell in his performance by being as disruptive as possible to his lecture. This included flashing the lights and making loud noises as he spoke. He performing I thought that I was creating an understanding and the sensation of being blind and that they had to adapted to the ridiculous things I was doing by increasing there other senses, as a form of compensation. There will be another performative exhibition in the Southend Gallery on the 22nd October on the same theme, but I will be performing my own work. 


Drawing Forces. (2016). 10 minute performance. (Un)Specific performance event at Chalkwell Hall Southend

 
 
 

This performance demonstrates two acting forces, with the wrapping together of my hand and foot, restriction themselves to create rough and contained marks. This piece had the intention of provoking the reaction of pity towards myself as I put my body through this pain and exhausting act. The performance event had an artist talk at the end when the exhibiting artists discussed each others work. the comment that stuck out the most was allowing the audience tie up the artist limiting the artist's control on the work.  


1639 Steps. (2016). 45 minute performance. Visions in the Nunnery Gallery. Bow Road. London

 
 

I positioned this performance in the courtyard of the gallery as there was a tight ally way in which the audience would have to walk through to see the other performer. This meant that they were forced into the performance, having to interact and question the movements within the confined box. The actions being made were exhaustive and repetitive which references an everyday activity. Placing this into a small confined space made the performance into rhythmical movements which isolated and 'othered' the performer from the audience. The dark clothing and hood/hat made the artist into a dark protagonist which created a contrast between the audience and the performer. This was to draw the audience in to question the identity of the figure but the audience remained separated by the box, almost like it was a physical wall between them and the figure.