Veiled Revelry 1.
Video Installation. Size Variable (installation). 2017. 00:02:12
Most carnivals have originated out of plight. Whether it is celebrating the only day off during slavery; overindulging before the food deteriorates or runs out at the end of winter causing famine; or pre lent indulgence simply because one would be denied it for a number of days. The video installation is an interrogation of some of the absurdities and dualities that both historical and present carnivals hold.
Veiled Revelry 1 features a figure, painted white, wearing an all-white sculptural headdress, solemnly interacting with an over laden black table of food. Through the use of contrasting colours, black and white, good and evil, light and darkness, it interrogates dichotomies that we so often forget in the midst of celebrating.
The installation, although about carnivals, is ironically, void of the exuberant colour traditionally seen at carnivals. This is an attempt to peel back the façade and remind us of the suffering that lead to us to the celebration.
The sculptural, paper headdress, filled with beads, umbrellas, feathers, a Ferris wheel, bunting, a gramophone/trumpet horn, jewels and animal mask, is an amalgamation of references to carnivals found around the world. The paper references the ephemerality of these celebrations and what they are meant to represent; The celebrations disappear as quickly as the communities came together and everyone goes back to the individual hardships
Video Installation. Size Variable (installation). 2016-2017. 00:03:13
My work explores transience within urban spaces. It attempts to interrogate dichotomies such as construction and destruction, life and death, man made and nature, development and deterioration and the tensions created by these dichotomies. My exploration is an endeavour to understand my reality, my existence. To do this, I found refuge through examining transience and these dichotomies
Paper is central to my practice because of its fragility, it’s everyday usage, it’s recyclability, and because it is one of the most consumable commodities of our time. I make use of it as my primary medium whether it is cut, embossed or sculpted. This choice of medium refers to the fragility of the transient state of our lives and our environment. The more the paper is cut into the more fragile it becomes.
The imagery I use is drawn from my surroundings, mostly referencing construction sites, often in conjunction with natural forms. I have focused on construction because of its brutality and beauty. For me, construction and the processes around it are an apt subject matter to use as metaphor for the complexities of life’s transience.
In this particular work: Nicholas Rescher said: “[life is simply] a manifold of continual change, engaged in an inexorable transit leading from birth through maturation to decline and destruction”. Our biology is transient, particularly the moments surrounding death. The beauty and fragility of the roses has been contrasted with the ugliness and robustness of the subject matter in the video. This is to encourage the confrontation of the ugliness of death, and the relentless grind of life as our only option.
Video Installation. Size Variable (installation). 2016. 00:00:55
“[we destroy and change] all for the sake of a greater capacity for doing more of the same in the future”