This will all disappear
Brick and Mortar Project Space, Folkestone
February 2020
mutation // decay
This will all disappear was a performance made in response to a workshop held at Brick and Mortar project space in Folkestone, UK. The workshop was a self-directed exploration of the derelict military underground networks and structures beneath the cliffs of Dover. The networks and structures which were made in the early 19th Century were abandoned by mid 20th Century and left to become overgrown.
The hours spent exploring the abandoned structures sparked a conversation around the relationship between the artists body and the environment. The intimacies found in abandonment and transformation, how we can find moments of solitude and love amongst the markings of the past. These discussions led to thinking about queer temporality and how through living as queer we automatically resist linear modes of living. The human body is part of a transitory movement, one that is continuously becoming and unbecoming in cyclical universes.
I was reminded of a film by Keiken + George Jasper Stone, Feel My Metaverse, in which the viewer is placed within a future of environmental destruction where humans live in ‘life units’ for protection and live beyond the physical ‘base reality’ through digital selves. We can live outside of our reality in the digital, as seen in this film, but when the world is continuously consumed through capitalism and heteropatriachy there is a question that appears around returning to our ‘base realities’ to greet our emancipation via nature. To grow old is to change, nothing is guaranteed to stay and even the most sincerely strong systems of privilege and corruption are being challenged and modified by time.
Brick and Mortar Project Space, Folkestone
February 2020
mutation // decay
This will all disappear was a performance made in response to a workshop held at Brick and Mortar project space in Folkestone, UK. The workshop was a self-directed exploration of the derelict military underground networks and structures beneath the cliffs of Dover. The networks and structures which were made in the early 19th Century were abandoned by mid 20th Century and left to become overgrown.
The hours spent exploring the abandoned structures sparked a conversation around the relationship between the artists body and the environment. The intimacies found in abandonment and transformation, how we can find moments of solitude and love amongst the markings of the past. These discussions led to thinking about queer temporality and how through living as queer we automatically resist linear modes of living. The human body is part of a transitory movement, one that is continuously becoming and unbecoming in cyclical universes.
I was reminded of a film by Keiken + George Jasper Stone, Feel My Metaverse, in which the viewer is placed within a future of environmental destruction where humans live in ‘life units’ for protection and live beyond the physical ‘base reality’ through digital selves. We can live outside of our reality in the digital, as seen in this film, but when the world is continuously consumed through capitalism and heteropatriachy there is a question that appears around returning to our ‘base realities’ to greet our emancipation via nature. To grow old is to change, nothing is guaranteed to stay and even the most sincerely strong systems of privilege and corruption are being challenged and modified by time.
Photos by Matt Mahoney-Page