More and more i am beginning to understand my practice only within the context of collaboration and live events. As well as a rapidly expanding schedule of events at SPACE37, I have been developing editing skills to create new work in response to other artists/musicians and more. 2 examples can be seen below: CANDYFL0SS, a combination of my costume/performance work and Oran Perrett's kaleidoscope visuals and SOULS CONVULSE, a video made in response to poetry by Dominic Mckiernan.
,The inaugural night of SPACE37. An evening of creative celebration, featuring: Music from Rio Mar, Robyn Glass and Blu Keys Through; projections from Oran Perrett, George Stone, Rob Ive and myself and decor by MOAN collective. All photos © Morgan Webb.
A night of experimental sound and visual art at SPACE37. Collaborating with The Darlington Society and Sam Richards (www.theclearingonline.org/2013/10/the-musical-landscapes-of-sam-richards), the event served as an after party to the day's workshops and talks. Performances included a DJ set from Bram Arnold (www.bramthomasarnold.com), synth soundscapes/animated drawing from Sarah Harrison (soundcloud.com/sarahharrison-2) and WE ARE GOLDEN, a combination of George Stone's digital video work and my own spoken word.
Today i produced videos, GIFs and still images from an archive of performance and collage work. Animating segments of collage over a video of my I CAN I CAN'T performance, i combined mediums to produce new and dynamic edits of previous work.
film/installation/performance. Footage of a flying eagle (slowed down//colour edit) is projected into the corner of 2 walls + the ceiling. A chain of black feathers arc across the wall beneath it, becoming the shadow of a string of coloured feathers across the artist's back. He kneels, naked wishing for flight//fight//something.
This is the 1st term of my 3rd and final year in higher education (hooray). A practice is evolving to adapt to activities beyond university. Under the loose umbrella of ARTPOP (a collaborative movement inspired by, among others, The Velvet Underground, Leigh Bowery and Hugo Ball), i have begun a year-long (at least) interconnected series of digital prints, films, writing, music, costume and installation. I want to be performative, reactive and collaborative. As i write about the link(s) between the punk subculture and performance art in my dissertation, research begins to inform (for example) the costumes i make and the music i play, and the sentiment behind my various outputs becomes (hopefully) more cohesive. In short, my current practice is informed by: punk and its related cultural movements (new romantic, new wave, no wave, madchester), 20th ct. performance (the Dadaists, Gutai, The Club Kids), 21st ct. performance artistry (Mighty Boosh, Lady GaGa) and contemporary cultural commentary (the poetry of hedonism, sex//drugs//sausage rolls).