Living Sculpture Performance. (2017). 1 hour. Gallery Elena Shchukina. Mayfair. London


This Living Sculpture performance was performed in a white cube style gallery in Mayfair London. The work stood out against the painters who were also exhibiting their own work for PROJECT2017. The performance worked in stages first symbolising the 'collapse' of traditional and political sculptures, which created the sense of discomfort and interest for the viewers as ultimately the human condition has us intrigued with pain. The next position was a sitting/throne-like position on the plinth to create the sense of myself (the performer) as high art and sense of grandeur. The last position was to demonstrate the 'statues' (living sculpture's) orgianal position before the collapse which also demonstrates the link to greek sculptures and there heroic poses. 

This was greatly receieved by the audience with lots of feed back of the chosen positioning of my body and them having the sensation of it being uncomfortable to watch but also full of interest.      


Greek Living Sculpture. (2017). Vacuum Art. Loughborough University. Martin Hall Exhibition Space


For this performance I adapted my original Living Sculpture Performance to make a more direct link to Greek Sculptures. I also used a found object, a bucket, to allow the audience to reference the performance to an everyday object. The bucket, attached toilet brushes, add an element of humour to the artwork because of it making the figure look ridiculous. The arrangement of the brushes also allows the viewer to reference back to wreaths that Greek Sculptures traditionally wear. By making this statement it is making traditional forms of sculptures look absurd and also question the purpose of the wreath as toilet brushes. 


The performance lasted an hour with in this hour the audience would question and investigate by touching the performer if the artwork was a real person. The ‘Bucket Wreath’ masking the identity of the performer allowed the audience to freely be able and comfortably go and almost become part of the performance.

When the performer was absent the adapted wet floor signs would create a sense of mystery and also exaggerate the point of the artwork being the experience of seeing the performance not the relics of the aftermath. The use of wet floor signs as a structure for the sign was to allow the audience to recognise the statement being made in the form of an everyday warning sign. ‘Where’s the art?’ Made the audience realise that they have missed the art piece and realise that they have missed out from being part of the artwork.  


Living Sculpture Shuffle. (2017). 6 minutes. Where's the Art?. Oxford. OVADA Gallery. 


I adapted my Living sculpture performance for the Where's the Art? performance event at the Ovada Gallery into a moving one. The piece demonstrates a sense of clumsiness and absurdities of the traditional sculptures. The shuffling motion created humour for the audience as the bucket helmet made it impossible to see where I was going which meant that I bumped into objects and came up close to certain audience members. This created a strong viewer performer confrontation as they could not avoid taking part in the performance. They were forced into a situation when they had to observe the ridiculous living sculpture because of the event being performance orientated also because the curiosity of what was going to happen to the blind performer meant they couldn’t look away. The attaching of toilet brushed to represent the wreath provided the viewer a suggestion of where the facial features could be on the bucket. This was so they could question the identity of the performer and also seek to discover what the figure is representing.   


Greek Living Sculpture. (2017). 1 hour. Otherworlds 1. Brick Lane. London