A Play in a Day
Govanhill, Glasgow. 2019
A one day workshop programmed as part of Govanhill International Festival 2019.
As a group, we came up with the story, characters, sets, costumes and props, to perform a play five hours after meeting each other. The final show followed a nonsense story of tomatoes, a tomato tree, the sun, a Dundee Bridge crocodile, Sarah and Michael, a broccoli, a bus, a bike, a decision, white flames, and a tomato overlord.
Whilst being a fun challenge, the workshop also aimed to explore how something can be made through shared responsibility and collaboration - the result was a play that everyone had equal ownership over.
With thanks to Ruby Hirsch, Max Lunn and Kate Frances Lingard. Made together by Anna Vlassova, Holly Beer, Cathy McLean, Maria, Max Lunn, Tess Wood, Kate Frances Lingard, Bob, Fergus, Christopher Reay, Ruby Hirsch, Isobel O'Donovan and Kaya Erdinç.
Together We Applaud
An interactive installation that encouraged people to wear the hands and applaud into the megaphones. A response to an interest in the definining characteristics of applause, and the defining stress of the degree show -- both congratulating the students involved, and allowing applause to become an art object in its own right.
MDF, birch ply, hand turned ash wood bowls, timber, bendy ply, steel, tape, card, elastic, paint
This Choir Makes Its Own Applause
A participatory performance exploring the word applause.
Playing the role of a conductor, I organised and introduced the audience to the word APPLAUSE, and how we will be using it to create our own noise. Together, we tested saying each part of the word out loud:
The 'choir' were split into four groups, each one with designated with a part of the word. Using the podium as an open platform, they were then encouraged to make their noise when someone stood on the podium, with the invitation being extended to anyone in the room. The podium thus became an inadvertent conductor for the noise, and the noise became a vocal applause for anyone who tested standing on the podium.
Playing with noise, silence, height as hierarchy, and what defines a performance as a performance.
MDF podium, calico applause banner, pegs, cymbals, audience.
Performed as part of Single Step, an evening dedicated to a testing ground for performance, organised with Max Lunn, Anna Vlassova, Tess Wood and Elianor Oudjedi
Hike to a Roundtable
Ben Vrackie, Scotland, 2019
Four friends attempt to summit Ben Vrackie, a mountain on the fringes of the Cairngorms in the heart of Scotland. At the top, they plan to build and dismantle a Roundtable that they will carry on their backs for the journey up. Near the top, passers-by warn of a cornice, so the group decide to set about their task on a bank beneath the summit. The Roundtable is dismantled as soon as it is assembled, and the group will then head back down the mountain.
The Roundtable: a symbol for democracy, a tool for discussion, a space for sharing.
The Hike: a shared journey, a route for conversation, a collective experience.
Participants, fabric, poles, connectors, bags, mountain.
With thanks to Holly Owens, Alkmini Gkousiari and Hyun Seo Kim.
Roundtable, A Kit
A series of images detailing a kit made for assembling a roundtable. The kit requires a group of people to complete the build. No instructions are given, so discussion and conversation must happen in order to work out how the roundtable is put together.
Fabric, poles, connectors, bags, MDF leg stands.
A Table in the Round
Presented as part of a workshop for the collaborative exhibition Roundtable, with Hannah Brown, Ivy Deacon and Grace Elder at The Old Hairdresser's, Glasgow. A group of people are challenged to build a roundtable from a kit of parts, on top of a pre-existing roundtable.
Fabric, poles, connectors, bags, MDF roundtable, tablecloth.
Score for Applause
A painted banner featuring a score for vocally applauding.
Hands That Make: Roundtable
Pollok Country Park, Glasgow, 2019
A group of people assemble a Roundtable in a country park. There are many many hands.
Hands, fabric, poles, connectors, bags.
Applause, by a Village
Chedburgh, Suffolk, UK, 2018
A group of villagers gather on the local field to applaud a banner painted with the word APPLAUSE. Through doing so, they become claquers, an assembly of professional applauders.
An audience is a silent entity until their purpose has been served. We congratulate with sound, with raucous energy through our hands and mouths to break the spell of silence that is bestowed on an audience during a performance. Can applause become the performance? And what then happens when the performance is finished?
Installation images from Big Show, January 2019, The Barnes Building @ GSA, Glasgow.
Film: Banner (calico, paint, bamboo poles, pegs), villagers, gathering place. Installation: Light canvas and timber painted screen, timber headphone stand, headphones, projector.
With thanks to Sid Cholwill, Clare and Alfie Neal, Deborah and Will Smith, Paul Ingham, Jojo Jones, Allan Mitchell, Jamie Dalrymple, Clare Devlin, Gary, Jason, Luke and Imogen Dillon, Abi Kettle, Anna Carnegie, Emma Healey and Georgia White.
Podium for Applause
A podium on which one can stand, place headphones on their ears and receive their own personal isolated applause. If applause is such a shared, celebratory affair, what is the experience of it when it is solitary, lonely and intimate? Action still continues around the receiver, yet they experience their own encounter with a phantom soundtrack of applause.
Part of a solo exhibition entitled One Night Only that took place at The Assembly Hall, The Art School, Glasgow, in which the artist created a 'playground' of works for the audience to use, including a rotating plinth, a bordered white cube, string barriers, benches, and this Podium for Applause.
MDF podium, headphones, string, participant.
All Those Forms of Spectacle
A plinth that visitors are invited to stand on, with one turning a handle to rotate the other on top of the plinth. Exploring modes of display and audience involvement.
"All those forms of spectacle" is taken from Jacques Rancière's book The Emancipated Spectator, in which he explores the boundaries of passive and active spectatorship. The quote follows as "...theatrical spectacle. I use this term here to include all those forms of spectacle - drama, dance, performance art, mime and so on - that place bodies in action before an assembled audience."
Exhibited at Assembly Line, The Pipe Factory, February 2018, and One Night Only, The Assembly Hall @ The Art School, May 2018.
Plinth, steps, base, handle and column.