References from essay feedback

• Feminist and queer performance: Critical Strategies (2008) by Sue-Ellen Case
• Contemporary Feminist Theatres: To Each Her Own (Gender in Performance) (1993) by Lizbeth Goodman
• Contract With The skin: Masochism, Performance art and the1970’s (1998) by Kathy O’Dell
• Performances by Kira O’Reilly

RCA student crit

Display – as the work is in process and not completed, the way of displaying is something I haven’t considered. In the crit I will have the latex moulds presented on the table and will explain that they aren’t finished products and that I intend in using them in performance and film.

Ideas around film – presented on the feet whilst walking around? Is it a continuation of wearing materials and viewing them deteriorate? Such as the PVC tote bag where the liquid leaked out of the stitching (as well as the idea of the plastic around the body idea)

Wearing materials on the exterior of the body which represent the interior. I recently discovered how I had been expressing my personal experiences into my work in a subconscious form. So I experimented with converting this into a physical and visual way of wearing a material which is ‘unwanted baggage’. The shoes are a continuation of making a bag and ‘corset’, but with more of a focus on the material of latex and the connotations latex holds. I created moulds with the normal ‘everyday’ shoes (brogues) and then also the stiletto shoes, which alone hold sexual connotations. I wanted to play with the way that the object/shape of the latex affects the latex itself. Is it viewed differently?

How am I moving forward with this idea – work with performance or filming the shoes being worn? Compared to the PVC bag where I filled it with liquid for a metaphorical representation of my subconscious emotions leaking, I am now more intrigued by the material itself and how I can manipulate it.

After crit –

http://matijhurry.com/wecanescapetothegreatsunshine.html

https://aliciareyesmcnamara.net

Liquid Modernity by Zygmunt BaumanERWIN WURM: ONE MINUTE SCULPTURES

 

Franko B talk

Talking to Franko after the talk – discussing the use of music in his videos/performances and how this can impact the reaction the viewer has. When viewing Franko’s performances and films I find myself getting emotional and often crying, whilst overs around me are repulsed and find the films hard to watch because of this. With “Oh lover boy”, Franko is lying at a slanted angle where blood is dripping down his arms over a period of time. The film has a piano piece by Helen Ottaway playing over it. I questioned Franko on whether the music was used intentionally to provoke emotion and he said no. For me, the music and graphic visuals of Franko’s running down him, I find it overwhelming and not only feel his physical pain I feel sadness and fear. It makes me feel vulnerable and open, something Franko is allowing himself to be in the performance.

I also questioned Franko on how he feels about the use of the word PAIN and he told me that in his work he never puts himself through pain. He described pain as something that you are unable to control and have no choice over, whereas in his work he controls his pain and chooses to put himself through it.

Latex brogues

Femininity?

Is latex a feminine material and if so why? How can a material be feminine? Expressive and sensual material, with similar characteristics to skin and human flesh. How relative is permanence and the limited life span the material has – deteriorates and decays after a period of time. Its practicality – moulds to objects and can easily be applied through painting, pouring and dipping an object into it. Stretches, flexible, easy to remove off from surfaces and objects. Strength yet also fragility.