Yesterday's installation room session, proved really useful, and I came out with 2 very interesting performance experiments from them. You can still the still from the edited version of one below, in which I cleaned up the colours, and created this spotlight effect on the performer. While in the space I used the death rattle noise as a way of becoming mentally close to experiencing death. The disturbance of the sound always puts me in a mind frame of being in a lonely hospital bed, in the final moments of death, which is a really horrific thought. I wasn't necessarily inactive in the performance, more so in a state of meditation, simply reflecting in this pool of thought. Watching the video back, the distress is not evident. I really like the contrast between the 2 different materials however. The way the material is draped over gives the look of a monk or religious figure, although the video show a very deliberate line across half of the image where the subject is placed. In editing, I played the death rattle on repeat, creating a sense of a moment of eternalised death, being in a sate of not living or dying, rather existing in a unfruitful position in the centre. It was really difficult to mould the mesh around the body as it has no grip to the skin, and I think this somewhat hindered the visual element of the work.It bunches a lot around the body and arm, being a lot smoother and clearer to make out along the face. Lucy has suggested getting help with this, and having somebody present in the room with me, which makes me unbelievably nervous. This space works becomes i'm in isolation, and explore a lot of mental trauma while in the performing state. I suppose this is a step up and into the idea of live, and although an aid, that person can and will experience the work live, and will see the difference from performance to film. I have been thinking of also using foil as it has a distinct metal look, while being easy to sculpt and delicate.