'Oppression' Exhibition 2016, Gallery Space.

The gallery space was incredible to work in for Oppression. Serving as a stage for myself and fellow performance artists, the space was perfectly composed to host and celebrate.

'Oppression' Exhibition 2016, Stills. I am.

The composition for the live installation utilised four transparent jars; two filled with identical units of water, and two with identical units of salt. These substances hold infinite meanings, yet to the immediate eye they represent the components of tears; which are not only reflections of pain, but also the ingredients of salt and water are vital components of the human body. Thus, the dislocation of the the jars filled with these components from the body aim to visually reflect both the emotional and physical disjunction of one's self. After each performance, another layer of wool was added to the jars during the binding process, which proved to be aesthetically most interesting to photograph. I was instantly reminded of the patterns of nerves in the body when binding the wool to the jars, which in turn reinforces the concept of physical disjunction.

'Oppression' Exhibition 2016, Stills. I am.

I chose to bind the wrists and the fingers, to visually symbolise numerous concepts and images; the most prominent being the marks of self harm on the skin. The way in which the wool was bound for each performance was spontaneous, however the documented process of the binding holds importance to the concept examined in the piece. I considered binding the ankles and legs, however I felt that it would hold more of a sexual resonance than I wanted to suggest. In addition, the binding of the lower extremities would detract from the symbolism of the hands -  they hold an autonomy which renders the identity of the oppressor in this piece as ambiguous.

'Oppression' Exhibition 2016, Stills. I am.

'Oppression' Exhibition 2016, Raw Footage. I am.

This is a short insight into the binding process in preparation for the performance. Interestingly, members of the audience believed this process to be part of the performance, which added another dimension to the concept being explored - who is the oppressor? Part of the stigma surrounding mental illness is such that the affected individual is believed to hold some responsibility to the development and progression of their illness, which in some way is reflected in the process of self binding in the footage. There are no other forces present in the frame, aside from my own hands. Yet, this is fiercely contrasted against the literary content of the performance; in the process of defining, who is it that is defining?  Shrouded in ambiguity, it would seem as though outside perception has taken the role of oppressor; yet this footage could reveal that perhaps I myself am my own oppressor?

The very process of the camera observing the transformation myself as Francesca into the performer reflects a weird vulnerability. What is the role of the camera during this process? How is the camera implicated in my oppression? For me, the camera holds a symbolism in this particular documentation of footage that it does not in the filming of the performance in its entirety; the camera as the engaged eye.

'Oppression' Exhibition 2016, Filmed Performance Piece with Live Installation. I Am.

I am.

I am

Ask, Don't tell. And in the silence I will find a way, to answer.

I am woman. I am fantasy.  I am here. 

I am free.... I am here....  I am happy....

I am happy... I am free... I am here...

I am here.... I am happy... I am free...

I am strength... I am sound... I am here.

I am free.... I am here....  I am happy....

I am happy... I am free... I am here...

I am here.... I am happy... I am free...

I am  peace... I am perfect ... I am here

I am free.... I am here....  I am happy....

I am happy... I am free... I am here...

I am here.... I am happy... I am free...

I am healthy... I am smiling... I am here

I am free.... I am here....  I am happy....

I am happy... I am free... I am here...

I am here.... I am happy... I am nothing but happy

I am who you say I am.

Italian. - Sono cio' Che to dici che sono         

Russian. skajitye mney, kto ya takaya           

Yoruba. - Mo wa bose sope mowa              

Somali. - Anigu Waxaan ahay waxa aad tiri waxaan ahay

I am what you say I am.

Ask, Don't tell. And in the silence I will find a way, to answer.

As a form of documentation, I decided to have my performance filmed. However, little emphasis was placed on the technicality of the film, as the importance of the live performance was far greater to the concept I was exploring, than recording the content. I am aware that the quality of the sound is rather mute, and so above is the script for the performance piece; the composition of the text holding equal importance to the performance.

'Oppression' Exhibition 2016, Artist Statement. I am.

I am

'I am' is an abstract fusion of conceptual installation and performance art. The piece explores and examines what it is to be young and mentally ill; inspired by the literary material produced by young people whom I helped to support while volunteering with Child and Adolescent Mental Health Services. Within this piece, the stark yet delicate paradox between chaos and order is additionally explored through the live installation, as well as the conceptual framework surrounding the disjunction of emotion from the self. Every aspect of the piece, from the objects used to the clothes worn, the languages spoken and the way the wool is spun, is symbolic of the message carried through, although individual interpretation and projection is absolutely vital to fulfilling the execution of the piece. The decision was made to attach two transparent jars to my wrists using string, each filled separately with water and salt, both of which are attached in turn to the floor by gravity. The superficial and very distant attachment of these elements to the body aims to physically embody emotional disjunction and a disjointed recall of internal division, as well as a strange sense of attachment. In addition, the choice to use wool at the binding material between the flesh and the glass jars carries significant resonance; the spiritual meaning of wool denotes truth from celestial origin which in itself is good. In correspondence with this spiritual meaning, the way in which the wool is so loosely spun awards it a fragile quality; easily detached, which serves to reinforce the literary material.  The languages spoken possibly hold the most significance in this piece, for  the variety of the languages included aims to illustrate a universality the piece, with no specific identity attached to the performer; I as the artist and ultimately the performer stands as a plural, not only as the personal body. Upon saying this, it is integral to this piece that the performance remains as abstract and ambivalent as possible; clarity is not necessary to be sought. The very process of the audience observing this piece is part of the performance itself; serving as the passive onlooker, yet the enagaged eye.