For this project, I wanted to further develop the ideas and themes from my previous installations last year. I was very much interested in using and developing the visual as well as sonic experiences within my performance.
I was heavily inspired by Verena Paravel and Lucien Castaing-Taylor’s De Humani Corporis Fabrica as well as a fetish channel called “Stomach Cam”. I was also finding myself incredibly drawn to the extreme performances and sculpture of Chris Burden and Wolf Vostell.
These influences, paired with the content I am working on for my audio dissertation have become useful resources to draw experimental performance ideas from. At this point I’m set on creating two sister installation performances. I want to create something that is self-aware and post-human. I want these performances to be Fluxus and Dadaist. To me, Dada especially, lends itself to a more mischievous quality which I’ve become very interested in.
I know that for these installations I wanted to examine the questions; “How does the use of technology and sound serve as a medium for people to confront these inner landscapes?” and “What emotions and processes are involved with such confrontations?”. I wanted to examine the convergence of technological bodily investigation, the emotional implications, and the projection of these processes. I want to comment on their essentiality and their extremity.
My previous work almost entirely commented on a form accelerationist hedonism. I want it to build upon the previously explored ‘zoomer’ anxiety complex in a more delicate and personal fashion. For example – in ‘The Latex Maid’ people disguised their anxieties with fake stories, name dropping etc. in order to shed them quickly, in Slieve Dhu one is meant to endure this turmoil.
‘The Latex Maid’ focused the communal aspects of post-human culture and theory more outwardly, using the social aspects of said culture as a source, I want to experiment with the opposite. I want to create a more personal introspection of the post-human ideas presented in ‘The Latex Maid’.