Final everythingness and nothingness performance art dealing with secrecy…we will reveal secrets…are they real??? Through creating nothing…just wait and see…
10 pieces of evidence and final artwork are listed one to ten, 10 being the final artwork - a stop film animation. Click on each post to see all its contents. Enjoy!
10. FINAL ARTWORK - THE STORY OF HALAL CORNED MUTTON
As an imagined final artwork in my mind’s eye, this alien method to my practice as an artist has manifested in the form of a stop-film animation, using halal corned mutton and split face characters suspended in natural foliage. As enjoyable and excruciating as the process was, the final work takes on its own characteristics, becoming an entity exploring the diverse yet heavy impact of mass consumption and globalisation on the world up close. Using humor through the characters, who tell a story, sound effects and subject matter itself, The Story of Halal Corned Mutton invokes a second glance to be taken towards how the way we interact with the environment has become alien to what once was, and encourages a deeper level of thinking to permeate one’s consciousness. Even though the final work, as a result of the accumulated experiments, processes and conceptual concerns didn’t turn out the way I expected, it simultaneously reflects the intention of growth rooted at the core of globalisation, and how this generates very specific effects – of environmental degradation and mass consumption on the direct and indirect environments surrounding it.
A can of Halal Corned Mutton lies abandoned by the side of the road. Has it fallen off a truck? No one knows. Slowly it forms a life of its own. It dances across the golden grass to the start of a forest.
It gets excited and begins to move faster. It finds a tree and cradles its possessions. Two hungry explorers smell a strange yet inviting smell. They find Halal and crack open its contents, dancing and jumping all the way. There, the twigs and branches begin to play with it, diving into the Halal corned Mutton as if it were a waterfall. Slowly, chunks of the Halal begin to fall out of its can, and the Halal Corned Mutton becomes very sad and hurt indeed.
As Halal Corned Mutton becomes more and more sad, the twigs dig in deeper and deeper, until they form deep wound within its flesh. It is there that disease and disaster takes over. It appears the very components that make up Halal Corned Mutton – halal mutton, water, salt and sodium nitrate, separate and form an acidic goo that begins to kill the twigs, branches and whole surroundings. It is only because Halal Corned Mutton protecting itself that this is happening. It is not Halal’s fault! It did not choose to be squished into this can in the first place. Slowly the twigs die and fall apart. What is left is a pile of disease and gunk. Can new life form? The scene slowly zooms outward from the scene of disaster, and darkness takes over. Before the final ray of blackness hits, there is a glint of light and an over-layed image of a woman. The scene goes black.
8. Performing the stop-film animation for society – dressed in all black, blacking out figure, performing disjunct movements in a natural environment, there becomes an oddity to the current surroundings, in which the physicality of jerky movements and actuality of me becoming the movements of the diseased spam suggests the interconnectedness and possibility of power inherent within each individual to create change.
7. I create a video using uncreativity, of mixed materials and images to see if stop film animation can make sense in a non-literal sense – upside down, backwards, random, inverted, X-ray images, unrecognizable subject matter. From here the audience can see how whole new stories, meanings and interpretations can be based on the placing of a few photographs, using alien methods, and the converging of ideas and practices into condensed versions of such.
6. Taking place in a natural environment, and inspired by Christian Jankowski’s Hunt of spearing his supermarket items, the long process of stop-film animation conveys the need to take a long and tedious yet essential transformation, back to the more traditional and sustainable ways of living. So here I have taken the route I use to get to university on my bike, and have interspersed the videos with snippets of the natural environment. A performance, installation and living sculptural approach to convey this, I am to disorientate, disgust, yet intrigue the audience – hypnotizing them like the bright lights of modernization – out of that apathy for facing the enormity of the situation before them, into a pro-active attitude of dialogue, collaboration and action between all people. It is through the jagged, focus-demanding and action-orienting stop-film animation this can be achieved. I don’t aim to change the world; I am to communicate to humanity the current world from an unusual perspective, simultaneously offering the potential for a new world to emerge. It is the enlightening of information, and essentially, inspiration, I achieve through the ideas. From there, we can work together, however hard or long or difficult; in rethinking and living and choosing our interactions with cultural objects, we can perhaps better evolve in this universe.
Note: All footage is my own work!!
5. 8 photos – like an octomat – the subtlest of nuances reflected, adding effects and taking away parts of the image to create a fragmented arranged collage – like the way people interact with society – a thousand mirrors, a picture tells a 1,000 words. Uncreativity
Referencing femininity and the social implications of globalisation that surround, Halal Corned Mutton tells the cultural story and journey of where it has gone, and where it has come from simultaneously. In other words, depicts the cultural journey of mass production to its roots, to its destiny. Conveying the disasters and contradiction of war – natural and man made worlds, Halal Corned Mutton suggests deeply the necessity to reflect back upon natural ways and slowing down dramatically to preserve the natural world, exemplified through the sharp contrast of golden, colourful with earthy hues of the wood. The glint of light and the woman’s face metaphorically highlight Mother Nature’s over-seeing eye, and how no matter what we choose, there is always a part of ourselves looking over our own actions – this is our conscience. The idea of Halal corned Mutton adopting a persona confronts the audience within structural, postmodern and cultural paradigms, generating feeling to the increasingly de-sensitized environment in which they live.
4. Sculpture. Creating an installation with found objects. Representative of society, installed at a park where public enjoys peace – creating a sense of hypnotization on the audience, similar affects of the advertising of food in a society. At the height of my conceptual processes is the dislocation and recontextualisation of an object through its interaction with the natural environment. Here I displace the audience in a literal sense, creating a non-literal and realistic interpretation of the world when it takes on the characteristics and elements of another. Not only new worlds are created, but new ways of perceiving. Perhaps this is the most powerful tool we can give our audience.
3. Painting – paint over familiar objects to disguise them. What if we were colour blind? Did you know that if you say a particular thing is a colour, a blind person will often agree with you because it is the feeling and sensory encoding of the object that gives them the association with the particular colour. Disabling objects. Not fit for society? Laptop case. I am using the wrong material, but who says it is the wrong material? What does this even mean?