‘We all encode our experiences of time at different rates. A single moment from several months ago may consume our thoughts, yet a whole summer five months ago may have completed vanished from our memory. We stretch and condense time until it suits our needs. You could say that time does not move in a linear trajectory, and moreover we’re not all following time using the same system.’

Walking with Contrapposto

In this video Nauman attempted to maintain the contrapposto pose associated with classical and renaissance sculpture while walking down a long narrow corridor of his own design. in this postion, one knee is bent, and weight is shifted to the opposing hip. Trying to walk while holding the pose of ‘david’ is comical but there is also a menacing discomfort to walk with contrapposto, with both hands behind his head, nauman resembles a prisoner, the camera position high above him might be a surveillance device. He decided to show the corridor without the video inviting the viewer to become the performer. 

‘its another way of limiting the situation so that someone else can be a performer, but he can do only what i want him to do’

Nick Wilder Installation 1970

Walls running the whole length of the forty foot long gallery. The distance between the walls vary from about 3 feet to about two or three inches, forming corridors, some of which can be entered and some of which can’t. Within the corridor some television cameras were set up with monitors so that you can see yourself. Body parts of Nauman or someone else going in and out of those corridors were also shown on videotape. The cameras are set upside down or at some distance away from the monitor so that you are only able to see your back.

‘Whatever ways you could use it were so limited that people were bound to have more or less the same experience i had’

‘Reality is thus placed on a tria, and the object and the performance work all join forces to make us think, until we can perceive the invisible, the intangible, even the unthinkable.

Uses painting, sculpture performance and installation to develop a highly personal style that combines repetitive elements such as net,dot and organic patterns in sometimes eroticized sculptural forms.

Accumulations, everyday objects such as chairs, tables and clothes as densely covered with hand sewn phallic protrusions. Kusama began to paint net and dot patterns onto household objects and 1965 she combined all these elements into the installation Infinity of Mirror room. Continuing her obsessive approach the installations suggested a kaleidoscope of perception in which the interior room contained unbound seemily endless spaces.

Kusama is of permanent residence in a mental hospital for o.c.d where she admitted herself and continues to produce work by recreating her halucinations.

Society 1973

I have an idea of what i am like

I have a different idea of how i appear to others

Part of how i appear i intend

Part of how i appear i do not intend

Part of how i appear i recognize

Part of how i appear i do not recognize

Others have a different idea of what i am like

Part of what i intend others miss

Part of what i do not intend others see

Part of what i recognize others see

Part of what i dont recognize others see.

A true representation?

A false representation?

Perception and knowledge

Recognition and understanding

Belief and acceptance

I am interesed in questioning what we believe and accept to be true, to be false and questioning how this is possible.

I  want to create a work that questions the enviroment and surroundings you are in. I want the viewer to question what they see and believe to be true may or may not actually be a false representation.

Really interested in the idea of audience participation and the dea of creating a enviroment to be experienced and questioned.