the art of introspection
イントロスペクションの芸術
All my work is about identity of who I am,
what I am underneath and beyond my own skin,
what makes me stay alive?
what drives me?
what gets the heart beating?
At fourteen I was addicted to solvents in the late seventies, this had a big impact on my life, people around me were frustrated and felt helpless, not knowing what to do with this crazy teenager. After coming back from being in the world of imagination through glue sniffing, I was in my room, sitting on my bed in my pants, sniffing away to my hearts content, and a relative caught me.
His way of trying to deal with getting me to stop, was to pour a whole pint of Evo Stick all over my body, other relatives were around at the time, and put me in a bath of hot water.
I stood shaking like a stray dog that had been found in the river
I was helpless and shocked
Over the course of weeks, maybe a month or two I had to use a chemical to get the glue off my body. At the time I had longish hair I was proud off, all that had to be cut off in chunks, my head was covered in dry glue as well as my face.
This experience has stayed with me all my life, which my work reflects. The pouring on of acrylic paint, covering myself with food, mud, hiding my face with masks, with the process of peeling the paint off, scrubbing it off, scraping it off my body, taking layers of masks off, feeling dirty, shamed, having to live in a heartless world.
The foundation of the work is the experience of feeling degraded as a human being, any sense of identity or individuality was wiped away by one persons action of helplessness.
I don't think I have ever recovered from it, using my body as the canvas,
my art is an action of re-enactment
My work is not about race, it is not about other cultures, it is about my survival.
I may use white paint, green paint, yellow paint, purple paint, black paint, orange paint, brown paint, pink paint, red paint, water based glue, mud, embers from a fire, seaweed, sand, salt, sugar, honey, flour, tape, wire, plastic, cloth, or anything to hand at the time of the performance.
I work with themes of life and death, I work with the moment, being, revealing, embracing the hurting inside, the joy that comes briefly, the confusion that sets in. This is part of all of us, it is nature, what we all experience is real, it is our history, our lives, it is who we are, whoever we are. We find ways to filter the experiences from the past, present and await the experiences of tomorrow.
For me there is no answer to recover.
There is no answer how to move on, but to live, to explore and to embrace it as my life long research as an artist.
The moment is what it is.
what I am underneath and beyond my own skin,
what makes me stay alive?
what drives me?
what gets the heart beating?
At fourteen I was addicted to solvents in the late seventies, this had a big impact on my life, people around me were frustrated and felt helpless, not knowing what to do with this crazy teenager. After coming back from being in the world of imagination through glue sniffing, I was in my room, sitting on my bed in my pants, sniffing away to my hearts content, and a relative caught me.
His way of trying to deal with getting me to stop, was to pour a whole pint of Evo Stick all over my body, other relatives were around at the time, and put me in a bath of hot water.
I stood shaking like a stray dog that had been found in the river
I was helpless and shocked
Over the course of weeks, maybe a month or two I had to use a chemical to get the glue off my body. At the time I had longish hair I was proud off, all that had to be cut off in chunks, my head was covered in dry glue as well as my face.
This experience has stayed with me all my life, which my work reflects. The pouring on of acrylic paint, covering myself with food, mud, hiding my face with masks, with the process of peeling the paint off, scrubbing it off, scraping it off my body, taking layers of masks off, feeling dirty, shamed, having to live in a heartless world.
The foundation of the work is the experience of feeling degraded as a human being, any sense of identity or individuality was wiped away by one persons action of helplessness.
I don't think I have ever recovered from it, using my body as the canvas,
my art is an action of re-enactment
My work is not about race, it is not about other cultures, it is about my survival.
I may use white paint, green paint, yellow paint, purple paint, black paint, orange paint, brown paint, pink paint, red paint, water based glue, mud, embers from a fire, seaweed, sand, salt, sugar, honey, flour, tape, wire, plastic, cloth, or anything to hand at the time of the performance.
I work with themes of life and death, I work with the moment, being, revealing, embracing the hurting inside, the joy that comes briefly, the confusion that sets in. This is part of all of us, it is nature, what we all experience is real, it is our history, our lives, it is who we are, whoever we are. We find ways to filter the experiences from the past, present and await the experiences of tomorrow.
For me there is no answer to recover.
There is no answer how to move on, but to live, to explore and to embrace it as my life long research as an artist.
The moment is what it is.
Since November last year 2019 I have been doing a bit of travelling to various countries. I took part in the first ever Islamabad Art Festive (https://www.islamabadartfestival.com/intoduction/ ) Where I ran two workshops, one freeing your inner creativity the other exploring live performance. Also an artist talk and a performance "Behind the mask of white Rabbit is a Shaman". it was an incredible experience and certainly aim to return in 2020. I also travelled to Japan, sadly in midst of the coronavirus, which affected the trip, though I had taken part in NIPAF (Nipon International Performing Arts Festival) with other artists from Bangladesh, Spain, South Korea, Serbia, Mayammar in Yangon and many Japanese artists from all over Japan. I also had a solo exhibition in cafe Godard in Sengikuji and a collaboration exhibition with Mizue Fukuda at Cafe Donkey and Orange in Nishi Ogikubo.
We started in Tokyo and travelled to Osaka, Kyoto and Nagano, it was a very intense experience, The audience members were very low, but we still worked together and performed shows in each city. Since returning the epidemic has hit world wide crises, some countries are in lock down. The situation is seriously affecting not only main stream businesses but also the arts, theatres, entertainment venues, small performance festivals etc. Who know what will happen and what the outcome will be. We are all affected in some way. But I feel as artists we need to find creative ways to let people have access to art and hopefully we all find the right place so that people can have access with being contaminated. There has been the crazy thing across the world for toilet roll and pasta! I am sure artists will somehow incorporate this into their art forms, which some of the Japanese people did, I at first didn't understand it as I had not seen any news or social media. But perform we did! In the photograph bellow is the artist Nenad Bogdanovic from Serbia, next to him is the artist Panda from Mayammar, Yangon and the artist Miyoung Cho from South Korea. https://www.facebook.com/NIPAF13 ... https://bogdanovicnenad.weebly.com/ ....
We started in Tokyo and travelled to Osaka, Kyoto and Nagano, it was a very intense experience, The audience members were very low, but we still worked together and performed shows in each city. Since returning the epidemic has hit world wide crises, some countries are in lock down. The situation is seriously affecting not only main stream businesses but also the arts, theatres, entertainment venues, small performance festivals etc. Who know what will happen and what the outcome will be. We are all affected in some way. But I feel as artists we need to find creative ways to let people have access to art and hopefully we all find the right place so that people can have access with being contaminated. There has been the crazy thing across the world for toilet roll and pasta! I am sure artists will somehow incorporate this into their art forms, which some of the Japanese people did, I at first didn't understand it as I had not seen any news or social media. But perform we did! In the photograph bellow is the artist Nenad Bogdanovic from Serbia, next to him is the artist Panda from Mayammar, Yangon and the artist Miyoung Cho from South Korea. https://www.facebook.com/NIPAF13 ... https://bogdanovicnenad.weebly.com/ ....
I explore identity; what is it to be male? what is it to be yourself? what is it we are searching for? These are stills from various performances created and performed in Japan.
私は身元を探る男性って?自分って?ってお探しですか。これらは、様々 な公演制作、日本で公演からの静止画です。
https://www.youtube.com/watch?v=vuiU1hfqPok
私は身元を探る男性って?自分って?ってお探しですか。これらは、様々 な公演制作、日本で公演からの静止画です。
https://www.youtube.com/watch?v=vuiU1hfqPok
Performance at Olympic Studio Barnes sw13 as part of the Barnes Art trail. "Who Am I" The performance was about looking at who white rabbit was, starting off with White Rabbit, then six costumes later underneath was white rabbit!
Performance in Nagano Japan 2018
Performing with the artist Sam Penaso Philippines 2018 (White rabbit meets Stripe Walker)
We are in a time of change, transition, revelations and rebellion.
Below Queen Blue Eyes and the Shrine to imperfection, part of the (Maddo and the angry woman inside me) Performed on 23 Oct at Bar Buena Tokyo 2016.
女王ブルーアイズと欠陥部に神社の下、バー ブエナ東京 2016 で 23 10 月実行されます (Maddo と私の中の怒りの女)。
女王ブルーアイズと欠陥部に神社の下、バー ブエナ東京 2016 で 23 10 月実行されます (Maddo と私の中の怒りの女)。
Performing White Rabbit at Tokyo Tower October 29th 2016 club 333
東京タワーのホワイトラ ビット実行する 2016 年 10 月 29 日クラブ 333
東京タワーのホワイトラ ビット実行する 2016 年 10 月 29 日クラブ 333
Part of Maddo and the shrine to imperfection performance Art Space Bar Buena Shinjuko 23 October 2016
Maddo と不整パフォーマンス アート スペース バー ブエナ Shinjuko 2016 年 10 月 23 日に神社の一部
Maddo と不整パフォーマンス アート スペース バー ブエナ Shinjuko 2016 年 10 月 23 日に神社の一部
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