We are who we say we are, independently of any reality other than that of our intellect.
Protagonists through conviction or by reason of social events have effectively been forced to leave the mainstream of existence and have been compelled to (re)invent themselves. To understand through becoming and reclaiming.
Identity, the construction of the subject.
To talk is to give oneself, to create an image of oneself, to allow oneself to be represented linguistically. I come into being through this talk about myself.
Rune Gade in Kutlagataman Long Streams “Who speaks? Women, we are forced to admit” bullshit
“why am I saying all this? she asks herself at one point, in a sudden, metareflexive interpolation after having spoken in one of her ecstasies. “Because I want to talk about my voiced how I became what I am,” she replies.
Their speaking finds nourishment in the objects with which they surround themselves and which they conversely imbues with life and meaning through speaking.
We are not meant to listen from start to finish.
A fiction of reality that allows us to realise through introspection that words create the people. Perhaps we are changed by listening to them.
Claustrophobic closet play, the camera is the feeling of confinement and frustrating immobility creating a space of unbearable intimacy. The close hand held camera or webcam invading.
Ritual transformation of the exterior, the place where a mask is patiently applied, thus recreating the exterior.
“BASTARD IDENTITIES” spend their existence in the wardrobe, they are irritatingly aware of their own uneasiness. In ceaseless motion between destructive demolition and constructive remodelling the tragedy behind the surface an exaggeration of the camouflage.
“But I am made unlike any one I have ever met; I will even venture to say that I am like no one in the whole world. I may be no better, but at least I am different.”
Individual experience is among the most convincing testaments to authenticity
Perfect Individuality, at least in theoretical terms, is often held up as the most desirable state of being.
Following the selling of my studio space on ebay in this blogpost is all the documentation and evidence that the purchase is legal and official. I wish atticus all the best with his newly bought space. If you would like to get involved or help with sharing the word about The Glasgow School Of Art email me: firstname.lastname@example.org.
This work is looking at Art Education Critically students are being treated as numbers.
I’ve had 1 crit this year and 2 tutorials that is a total of 1hour 40minutes time discussing my work with tutors over the course of 6 months. I’m paying £1,820 a year in tuition and taking over £3,000 a year in loans as a scottish student. International students are paying up to £27,750 A YEAR in tution fees for the same education. Staff and students feel the same frustration the cuts in workshop access, term time and staff come are coming from the top. Change come from action this work is here to open the conversation.
footage of the journey through the studio to room where contract was signed below.
Enclosed is document of a traditional Gaelic folk tale.
My mothers side of the family come from the Scottish isles where Scottish Gaelic is the first language. The story unlike almost all Gaelic tales has no mention of god and there are no male characters aside from briefly mentioned family members.
It’s a cool story when thinking about witchcraft and feminism, I’ve been researching witches and traditional stereotypes that are documented. Will enclose an Essay by Rebecca MccDonald.
Above image is a still from footage from my room. Mess is overwhelming when there are so many other things to do and think about. I’ve continued documenting marks on skin and surfaces on the Instagram account @rocknroller365.