We’re not in Love

 

We’re not in love

We can try to think it over,

but once is twice enough,

there’s nothing left for you to recover,

we’re not in love.

How to finish this quickly dear,

this just doesn’t function, we’ve been too long at this junction,

Felt your arms surrounding me, no more this morbid rupture,

we’re not in love.

CHORUS

If you want me baby, dance with me

dance with me, dance with me

Our story’s cold dear, you don’t belong here,

Had enough, we’re not in love

If you want me baby, dance with me

dance with me, dance with me,

You just amaze me, you shouldn’t phase me,

Had enough, we’re not in love.

Do you know what I really mean?

This overbearing fantasising, to you I’m emphasising,

Every tender kiss tastes like poison

We’re not in love.

We suffered in our heartache,

Blessings from above, not enough

Apologies for the heartbreak,

we’re not in love

CHORUS

Bridge

I want to get away from you dear

Please don’t come back here anymore

CHORUS

 

 

 

Outer Frame

I noticed an odd attribute to my handheld camera that allowed for an odd change in the capture frame as the subjects inside the frame move from side to side.

I then attempted to find this elusive undetected space, which I have called the “outer frame.”

The investigation into this became a set of performances to video camera where a conversation between myself and the visible frame was formed.

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Tableaux

Here is the video which I made a while ago now, it was exhibited as part of the submissions exhibition.

Six performers were asked to spontaneously react to the titles of several works of art (ones which were sent up to GSA from Byam Shaw). The performers would then hold that pose until another title was called out. Six documenters were involved in documenting the scene. They used different media to document each pose with their own individual artistic license in video, photography and drawing.

The effect of the experience was like a conversation or dance between the two groups.

Quartet

Situation Meal #10/Performed Meal #1

Four participants, one drummer, one dj, one pianist, and one flotist, were asked to eat their meal in a similar way to “drape”. A tablecloth was tied between their necks which they had to keep taut enough to allow them to eat comfortably off it. The lunches were designed portraits for each character individually depending on what I knew of them and information I could find out about them on the internet.

The participants were asked to discuss why their meals were relevant to them which encouraged discussion but also awkwardness at the beginning. They had to come to terms with themselves by digesting the portraits. The theme of self-image was coherent throughout as each person tried to distinguish each other’s meals also.

The threat of spillage from the balanced tablecloth was always a thought in the participants minds as they had to think even more how they were appearing to each other and also the audience to the edited video that they knew was going to be broadcast in the same restaurant the following week.

As the participants got more comfortable with one another the tablecloth sagged.

Situation meals

I orchestrated several meals throughout the project which will be part of the basis for my research project in Term 3.

 

Situation Meal #1

Participants are co-founders of the “manifesto for the subversion of public art.” The table is covered in paper and the paper becomes a notepad for the meetings notes and minutes. All participants are allowed to leave notes or engage in marking the paper.

 

Situation Meal #2

Same participants as Meal #1. The participants eat lunch using their notebooks or sketchbooks as plates. Notes must be taking around the food that has not been eaten.

 

Situation Meal #3

Participants of the meal were to leave no trace of the food they had eaten before. The table was cleaned after the meal.

 

Situation Meal #4

Participants were members of a group tutorial. Each member was carefully examined on their online web presence and a meal was designed for them based on things that they had done, or places that were important to them. The meals became portraits of their eaters and were digested, like someone taking consideration of their past.

see the lunch menu by clicking

 

Situation Meal #5

The two participants ate food from a local chippy in the studio and discussed two seperate texts. One recited Nicholas Bourriaud’s Relational Aesthetics, while the other argued back with Claire Bishop’s Antagonism and Relational Aesthetics.

 

Situation Meal #6 (collaboration with Phoebe Amis)

The two participants held a business meeting in a hotel room where one played the role of the owner of a gallery space, and the other played role of artist wishing to use the space. The gallery owner became an ambassador for the hotel, trying to unify the aims of the art project the artist was suggesting with the beliefs of the hotel. The two ate off a bedsheet that was draped between them. The sheet had to be kept taut enough for both participants to balance their food on it. As the business relationship developed into a more personal friendly one, the sheet draped.

Situation Meal #7

A meal was eaten whilst the participant was on the phone to his mother who was not eating.

 

Situation Meal #8

Participants were split into two separate groups. The two groups were positioned at opposite ends of the cafe and instructed to phone a participant who was in the opposite group. The conversation was to be about what they were eating whilst they were eating it. The signal is terrible in the cafe and the conversation is disjointed.

 

Situation Meal #9

Two participants, each living one floor apart in a set of flats, phone each other via housephone. They eat and sicuss what they are eating. As the conversation gets more relaxed the phone cord gets tighter.