Part two: Representation of my body. Each object is named after the dance routine I perform while inflating the object. The performance and object are finished once I decide I can no longer perform (due to exhaustion or the actual condition of the mechanism attached to me). Because my object is a stand in for myself I developed my own pumping stilt shoes to translate effort, sound and clunkiness in my steps. Each move I make is physically recorded into the fold, and as it inflates it begins to change its shape, randomly limping forward to create new creases.
Part Three: Casting the object. Casting out of the image of the fold without wanting to create an exact replica of the base object I used different materials, inverting casts, dipping layers, cutting back skin until I settle on the final shape, a new typography folded onto itself to create a vessel that can hold air.
I created a breathing fold. A raw inflatable.
Album Tracks, (a series of performative objects) function as objects separated from their performative creation, or a record of effort exuded from the performer post performance.
David Getsy talks about this in his introduction to his new book Queer: quote “Abstraction has been embraced for its oppositional, utopian, and critical possibilities, for it is in abstraction that the dynamic potential of queer stances can be manifested without recourse to the representation of bodies.”
Is there a set line between abstract and representation? Or can I make objects and performances that work in tandem to create a conversation between the two?The formation of this object has three parts:
Part one: Formation of the base fold. I begin by tacking my base object on to the wall. I used a florescent pink inflatable air mat because it had ridges like do and is shapely like I am.
These stills are taken from my performance of NSYNC’s Bye Bye Bye
In the future I will be performing different routines, creating multiple objects, and connect them through tubing to allowing them to breathe through pressure from each other.