Work resulting from an initial performance piece which involved the durational action of binding objects.

The remaining artefacts were unwrapped – returning them to the state they were in before the performance. Did this intervention ‘undo’ the work of the live piece? Interrogating the remains of performance practice and questioning if they retain the traces of that work even when re-purposed.

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A process of ‘unmaking’ that original performance began, a mimicking, re-performance of sorts. The same slow, meditative series of movements were employed, although now reversing that outcome. This repetition imprinted in the physical relationship to the remains – the performer’s embodied memory of a work.  This second performance then itself acts as an archival action, re-enforcing a memory of the event (for the performer) outside of the physical archival structure, and into that of repertoire and repetition. This also raises the question of if this secondary work can be documented or discussed in isolation – if it can exist apart from the original it attempts to re-enact and undo.

Replicate, test, break.
Reaching toward,
A limit of the form.

There are layers here.
Pulling at each, toward an origin.
They continue.
Below the last another, underneath that surface.

In the case of the work included here, the documentation demonstrates that the relationship between that action and its photographic archive is rarely straightforward. The series of images do little to demonstrate or illustrate the significance of the unbinding action in relation to the previous performance. Neither do the photographs communicate the slow paced physicality of the action and its enduring progression toward an end point, a final state. The images merely depict the remains of the performance – the artefacts – at various stages of transformation throughout the process.

Beyond this initial experiment in undoing the original performance, further experimental pieces, sketches for works were made. These, in particular focused on replicating the movement and gesture of the original performance through mark-making. However, the resulting objects did not necessarily reflect this intention, and instead are likely to be read as independent pieces.

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