4-hour-long procession.
๐๐ฆ๐ญ๐ง-๐ฏ๐ฆ๐จ๐ข๐ต๐ช๐ฏ๐จ, ๐ด๐ฆ๐ญ๐ง-๐ด๐ข๐ฃ๐ฐ๐ต๐ข๐จ๐ช๐ฏ๐จ ๐ค๐ฉ๐ณ๐ฐ๐ฏ๐ช๐ค๐ญ๐ฆ ๐ค๐ช๐ณ๐ค๐ถ๐ญ๐ข๐ต๐ฆ๐ด ๐ต๐ฉ๐ณ๐ฐ๐ถ๐จ๐ฉ ๐ต๐ฉ๐ฆ ๐ท๐ข๐ณ๐ช๐ฐ๐ถ๐ด ๐ญ๐ข๐บ๐ฆ๐ณ๐ด ๐ฐ๐ง ๐ฃ๐ฆ๐ช๐ฏ๐จ, ๐ด๐ฉ๐ฐ๐ณ๐ต-๐ค๐ช๐ณ๐ค๐ถ๐ช๐ต๐ช๐ฏ๐จ ๐ช๐ต๐ด๐ฆ๐ญ๐ง ๐ต๐ฐ ๐ต๐ฉ๐ฆ ๐ฑ๐ฐ๐ช๐ฏ๐ต ๐ธ๐ฉ๐ฆ๐ณ๐ฆ ๐ช๐ต ๐ฏ๐ฐ ๐ญ๐ฐ๐ฏ๐จ๐ฆ๐ณ ๐ฌ๐ฏ๐ฐ๐ธ๐ดโ- ๐ธ๐ฉ๐ฆ๐ต๐ฉ๐ฆ๐ณ ๐ช๐ต ๐ธ๐ข๐ด ๐ฃ๐ฐ๐ณ๐ฏ ๐ฆ๐ฏ๐ต๐ข๐ฏ๐จ๐ญ๐ฆ๐ฅ, ๐ฐ๐ณ ๐ช๐ง ๐ฆ๐ฏ๐ต๐ข๐ฏ๐จ๐ญ๐ฆ๐ฎ๐ฆ๐ฏ๐ต ๐ช๐ด ๐ช๐ต๐ด ๐ฎ๐ฐ๐ฅ๐ฆ ๐ฐ๐ง ๐ฏ๐ข๐ท๐ช๐จ๐ข๐ต๐ช๐ฐ๐ฏ.
My practice explores power relations as an internal conflictโwithin a body, a figure, or a structure that is shaken by different forces. I imagine this conflict manifesting as a form of self-attack, an autoimmune-machine producing a chain of breakdown and consolidation, self-mutation, self-mutilation.
In my graduation work this machine unfolds as a slow-moving processionโcrawling from one side of the room to the other, stretching the distance and duration between the two points. It incorporates ceramic body fragments and connectors made from both soft and rigid materials, creating nuanced dynamics among the parts.
Small skin-vehicles, like ants, dragging behind them fragmented figuresโeach pulling the next, exerting tension on one another. The structure appears like a super-organism: a recurring, multiplied figure that is both homogeneous and heterogeneous, acting at once as a self-army and as a body constantly on the verge of collapse. It does not determine whether it is a convoy or a parade, whether it desires to arriveโor whether it is merely slowing down that very possibility.