I am interested by the sculptural potential of co-joining the body and objects and the possibility of activating ambiguous forms where vulnerability, sensuality and the absurd co-exist. Through the direct interaction with objects. I seek to create tensions between form and formlessness, allure and repulsion. By documenting actions between body and objets through photography, I draw correlations between the body and sculpture as well as address the material culture that surrounds us.
Words such as top-heavy, inflated, porous, weighty, droopy inform this work. The visual vocabulary of “disarranging”, “deranging”, “messing-up”, “discomposing” is the language through which the work unfolds. The ill-organized, the unclassifiable, the amorphous without defined form, are tools through which I create moments of absurdity. Through these moments, I seek to connect to questions about our humanity.
To this end, I chose soft fabrics, form fitting clothes, wigs, yellow ducks, and mesh bags. I explore their seemingly pliable forms and undermine their comfy, homeyness by emphasising their tactile malleability and evoking a relationship to body parts, hair, sensuality. The awkwardness of the poses underlines an inherent absurdness. By evoking an out-of-control body or efforts to control the body, I point to it’s fragility and mutability.
My photographic process is very loose, as opposed to scripted. My body responds and feeds off of the selected objects. The evolving image is an energy that spills over time, and recorded by the shutter of the camera, metronome keeping time. The image ultimately does not exist at the “end”, or as an “end-product”, but is found in the in-betweens. In this process, making a sculptural form is made performative through the photograph.
The series was completed during my residency at EastSide International, Los Angeles.