VIEW IN MY ROOM
United Kingdom
Installation, Mixed Media on Other
Size: 0.4 W x 0.4 H x 1 D in
Donated and borrowed amps and speakers, mother’s heartbeat, dad, t-shirt, monitor, pears soap. Size variable, 29 minutes on continuous loop This sound derives from a recording of my mother’s weak heartbeat. A pacemaker mechanically controls her heart. I have digitally augmented the faint original into a dub step inspired track. Her frail heartbeat is magnified and strengthened through the speakers and amps donated and leant by friends and family. This cumulative effort allows the new and fortified beat to shake the walls of buildings and rattle the guts of the viewer, disrupting their internal rhythms. The beat passes and evolves between the mechanical and the human.
Installation:Mixed Media on Other
Original:One-of-a-kind Artwork
Size:0.4 W x 0.4 H x 1 D in
Frame:Not Framed
Ready to Hang:No
Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.
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United Kingdom
Everything is on the cusp. Between life and death, heaven and earth, ground and sky, safety and danger, physical and immaterial. I am interested in means of controlling the body through medicine, alternative therapies, exercises, torture devices and occult traditions. Drawing with mustard, pepper and tape onto the wall, a still of Homer Simpson, his warm drool revealing his vitality; hammering glowing molten metal rods into lines of ancient instruments of torture - a Scavenger's Daughter, then punctured through and hung with silhouettes of terracotta acrobats; digitally augmenting the sound of my mother's pacemaker controlled heart and shaking ancient walls and disrupting the internal rhythms of contemporary guts with the Dubstep sub bass vibrations, further heightened by the use of equipment donated by friends and family, the sound passing back and forth between mechanical and human. Making the work seems to be a form of autonomous, cryptic, ceremonial catharsis. Although endeavoring to heal the wounds of others, each action is ultimately egocentric. My practice is adaptable, using drawing, objects, sound, painting and video. How do society and the individual cope with the frailty and finiteness of a person and their body, the cultural and clinical management of death? These vary through the customs of east and west, academic and pop, historical and present. I look across Chinese and European medical techniques witnessing the oddities of both - cures can appear bizarre and absurd. The work attempts to probe the line between desperation and the ridiculous, and the spaces and forms that fear of pain and mortality can push us to. What seems at first visually preposterous is actually a desperate attempt to grasp onto life.
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