There was a selection of really intriguing artist's that are part of an upcoming Saatchi exhibition I was referred to, called 'Dead' (obviously I was interested) which open and runs through July 2015. I looked through the list of artist's as they all established some sort of thread to my work, some peaked my interest more then others. At the top of my interest was Daniel Bragin, and his work 'The Lady' which comprises of a PVC life-size skin of a woman which has then filled with sand. This plastic material transforms transcends the material and gives the impression that is not exactly solid, more of a tar or ectoplasmic substance. I was fascinated by the idea that the physical limits of the material, being stretchy, difficult to rip or break can become something resembling a liquid or something entirely more ethereal.
The work is moveable and takes on the impression of the space in which it is such as the photograph to the right, in which it inhabits the stairs. Although it is somewhat ambiguous you can decipher a human silhouette of some kind, maybe due to its spindly apendages. It's unfamiliarity combined with the deep black colour makes something sinister and uneasy. The piece although inanimate adapts to the space, which is quite off putting, and almost suggests a consciousness of some kind. Now I have defined that my Poly performance will only manifest in the afternoons I see a similarity between this work and
the deflated state which will be seen in the Exhibition's mornings. The unease that is presented in Bragin's work of the human silhouette is mirrored in my upcoming work. Where the work differs is that the viewer will be able to see the work fully conscious and alive. To then see the work without the performer would create a degree kind of ambiguity and deception, and even disappointment, i'm sure. The work will appear unfulfilled.To a degree I enjoy that this exploration of hybrid between sculptor and performer will remain unsettled even after I have left the space, and that the object will carry the memory and expectation of movement. The limited action I will perform will hopefully translate a divided vision of birthing/dying and at least the completed work will allow some sort of affirmation of this for the viewer. In its uncompleted state, this division may separate even further. Bragin gives his form an identity, in the form of gender which also accentuates the feeling of life, as we primarily assume gender with forms that are alive, and primarily human. I am objectifying my work further by now recently coming to the conclusion the work is titled 'Paletots d'été (Summer Coat)' but visually the work will perhaps appear more human like as I perform. With each of these works despite it's different mediums it is the psychological unease that comes with the expectation and presumed definitions of what is considered living and dead that allows them to transform and carry there respective imaginative potential.