Although such positions may apparently touch on issues with some degrees of specificity, they can be expanded into situational modes of interaction in general. In another sense, the action that evolves through an engagement with these objects tends to expose qualitative positions within the contours of which particular subjects happen to get entangled when engaged in social relations. This mechanism alludes to certain qualities of social interaction and how people get engaged in forming subject-to-subject relationships. The works in this series- The Wearable Sculptures-include a set of objects conceived to generate a period of intimate contact with the body of their users-who may be the audience of the work or the performer who is to exhibit the mechanism that follows each object. More toward the end of the performance, few lines of dialogue between the performer and her crew bring the viewer back to reality, distancing him/her further from the so-called drama which it has been suggesting since the scratch. The image ironically keeps its distant with the title of the video “Irreversible” as it goes back and the sound remains faithful to the truth, creating a loop which can go on forever in one’s mind. The sound and the image are going their own ways: to avoid stepping/ falling into a dramatic trap, both features are carefully chosen to be un-sync. The work challenges more than allegories that it reveals on its surface: a repeating act of wearing makeup, as a symbol of gender identity, shifts and transforms as works progress ahead, into layers deeper than what it represents at the first sight. The 15 min footage - which was shot without a cut- tries to keep the viewer engaged for the whole duration of the performance and make him/her witness to this traumatic process. A self-healing - self-destructing process which takes place in front of the camera as a witness. Irreversible Beauty is a video documentation of a performance experiment realized by the artist. Through this connection and conversation, the new life arises, the flames of hope for changing the future. Using minimal and repetitive vocabulary, connecting to “the other” - the nature- become the main components of the performative act/ ritual. In association with the Sun, a phoenix obtains new life by arising from the ashes of its predecessor who was plunging itself into flames. It is a recall of the Phoenix, a common myth in the ancient mythology of Iran, China, Greek, and Egypt.
In the third fragment, the eggs would be burnt to create something new. A Sisyphean attempt that eventually leads to the loss of eggs. In the second one, the performer struggles to roll the eggs up the hill. This screen is about care, motherhood, wait, and repetition. In the first part, the performer is sitting on huge self-made wooden eggs while she is knitting.
Wake up stories is fiction in three movements, narrated in three separated scenes.
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