As a mature woman my work is the result of frustrations in relation to others’ expectations and misconceptions of me. Taking up space, unapologetically, has allowed a performative version of myself to emerge. I am interested in this commitment to performativity by mature women on social media sites. My images are made quickly and with materials and props that are to hand. The resulting photographs include filters and digitally drawn elements that build a persona, and my working process can be seen as a playground for the exploration of potential irreverent storytelling, both real and imagined. The swirling farrago of sensations that is menopause slaps you in the face, hard, and lets you know, unequivocally, that you are on a one-way street with no turning circle at the end of it. So, having less life ahead of me than there is behind compels my heels to dig into the earth so that the dizzying swiftness with which I am travelling along this one-way street, towards the exit from which th...
Do you still feel that this work is only served in the integral form of full-length live performance. Your camera has caught the eyes -- your eyes? -- in close attention to the lens?
ReplyDeleteIn truth. Yes. The visceral nature of the live work takes it somewhere else. Even the full length video of the performance on YouTube does not capture the event properly. It was a one off. I couldn't persuade other venues of its merit. However, stills from the video do tell a different story, which may in itself be work pursuing.
ReplyDeleteI think that may be the point here. In general, the stills photo creates a crisis in the narrative of the performance which can transfer to a crisis in the narrative of the viewer. I notice this personally when I recognise that though I have been busy 'selling' one view of an idea, my client taken off with another. Can the customer always be right? Grrrh!
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