With my interest in more metal based material and processes such as welding, iron and steel, I have been looking at armour. Reflecting on my tutorial with Lucy, I am keen to create physical relics that act as remnants of my filmed performance work. It seems to satisfy both desire to create performance and my want for something physical to display. Previously the objects of my work have been cheap and very throw away such as the PVC sheeting or equally the object has been my own body. I want to create more substantial objects in terms of quality, and while creating this medal alongside my work for BAMS I am enjoying the more lengthy process and it feels much more worthwhile to me. I am thinking of creating an armour that is as physical as it is spiritually ephemeral. I know I want to work with pins or needles, I enjoy the piercing action they create, in there small scale. Their power is that they are so fine and appear to be delicate while alerting to their slight presence with a sharp overwhelming pain. Armour however masculinates the human silhouette with a bolshy appearance, and demands attention with it’s often ornate design. While the wearer is proclaiming their role and devotion to their respective kingdom or social group, this theatrical display can be said to distance the individual from their armoured second skin, lost in the lavished, and often intricate designs. It is a symbol of high status in terms of the role of a knight, and yet it is this armour that creates any indication of status. Everything appears polished and clean, a reassurance of strength to those of lower status and an illusion to the wearer that they stand for more then that.
I have been toying with the idea of creating a transparent armour, one that in it’s design ultimately highlights the wearer. Covering the underside with pins, as a constant reminder of the wearers own mortal life while being actively mobile, but this clear open display, mirrors the masochistic tendency of displaying one’s own wounds in a narcissistic way. I don’t want that. Personal pain is much more endearing, and medium is important. If I was to display the object and a film in which the object is used, how do I get one to react to the other? I think this may come with the censorship in the film. Creating one image with the film, that once the sculpture alone is viewed, the film can be re-watched with different connotations. In doing this, my performance work may have a bit more of quality concerning personal exploration and meditation, while still becoming gradually more accessible. I completely understand that I am being quite vague at this point, but at this point I have been reading a quantitive amount, so much so, that I am struggling to create clarity in my thoughts. This I'm sure will come with time, but at this point, I am going to stop making, and start the long process of creating work plans, to set it motion. My process is often plan every last detail to create an environment and leave myself in the present moment of performance to escalate the piece and bring the emotional aspect into fruition.