HOW DO YOU DEFINE AN ACTION WHEN EVERYTHING IS A MATERIAL STILL IN PROCESS
SHARON GRACE FLYNN
Materials that change form or stability over time are organized in the space: a gently balanced piece of timber, a melting formation made from ice, a pile of rock salt eroded by melting water, an evaporating fragrant oil, a weakening body holding a lump of crumbling clay over almost two hours.
Additional mediums used in the work include the C32 space in Forte Maghera (a historical park facing the western bank of the Venice lagoon), the unused elevator shaft of the building, light through the open studio door, the sound of concurrent studio performances.
Audience members could smell and sense the changes in form over time and interacted with the body by helping to support holding the clay up as muscles weakened, and wiping sweat from the body as it tired.
The work is an investigation into visible and invisible bodily archives, taking imagined queer anthropology, transformative terrains, and the performativity of the site as its lens. The performance exists as a continuum with a series researching exercises for speculative materialisations and futures, from “IT’S THAT SOMETIMES YOU MOVE TOO LOUD (2014)” to the live investigation “how do you define an action when everything is a material still in process (2019).” In this work, bodily materiality speaks to fatigue and enduring softness as a possibility of queer existence.