Eleven Attempts at Splitting a Rock, 2015
A Guide to a "Success"ful Painting, 2015
A Guide to a “Success”ful Painting was a performative art piece for my Painting class at University. The concept of the performance was that I would not have a painting made for the final critique for that class, but instead a box with instructions that would get one in the “proper” mindset to execute the making of an exquisite painting. I asked a fellow classmate to open the box and follow the instructions on the spot and they then proceeded to paint a painting for me for the class in front of all of the professor and other students. At the end of the performance, I asked the person on their feelings of ownership over the piece that they had just made for me. They felt as though it was still my piece.
A Guide to a “Success”ful Painting draws influence from Dadaist performance in Zurich before WWI as well as the kit-making concept that the Fluxus movement had a keen interest in during the 1960s.
Additional stills from the performance are below.
A PDF version of the instructions that the person followed can be found here.
Home and Away, 2015
Untitled Performance, 2016
This performance was governed by the fact that I would initiate the seed of where a narrative could be built up without actually doing anything. I created these tubes that when covered in paint and rolled, would produce a film-cell-esque picture of a blank circle. There are three tubes with the blank circle in different positions. Depending on which tube was rolled and which direction it was rolled in, the circle would be in one of five different positions.
The selection of tubes and the way that they are printed would then create some narrative. There are two additional tubes: one that prints the word “START” and one that prints the word “END”.
For this performance, I placed paper on the floor and demonstrated how the tubes print by using the “START” tube; this educated the participants on the function of the tubes as well as asked them to complete their collective narrative given the materials.
I reference Flux-films that were made by the Fluxus movement of the 1960s with this piece. I have further broken down a film though by having the tubes. I am also commenting on printmaking, film making, and even performance art with me in essence not doing the performance. The topics of ownership and authenticity are also addressed in the piece.
Because I am commenting on films, I decided not to make a film of the performance. Instead, I am providing stills and gifs.