The artist imagines a dystopian world in which sleep is seen as an opportunity for progress
speaks to artists working across performance and film about the role of storytelling in their practices and about creating work that allows us to come together in a world that tries its very best to keep us apart., debuted at The Robert’s Institute of Art in London.
Why I am drawn to explore and represent horror is something I am still figuring out. Maybe I am just angry and this is my way of coping, or perhaps I have a perversity that needs some more exploring. I used humour in the piece as a kind of cushioning; comedy can open up some space in order to get a little bit closer to horror without feeling the full strength of its bite.
Within the confines of this space there are yet more spheres, hierarchies and shapes of power. Leaders from the global north and global south, CEOs of tech corporations and heads of transnational organisations, are all jostling to increase their sphere of influence. There’s something about that ability to create, to maintain and to grow power that interests me.
I was also conscious of taking a directorial role in this work, which also then creates a set of relations and power dynamics within the group of collaborators to navigate and explore. My main priority when collaborating in this way is to create an environment where everyone feels supported and cared for, while being able to enjoy the process of being and working together. We ask a lot of each other during the process and, in return, make sure we respect each other’s ways of moving.
“While processing the collective grief of the last few years, I am trying to work enough to afford London rents, trying to maintain an artistic practice, and trying to keep myself alive in all the myriad of ways we must do – the endless maintenance of living“ – Harriet Middleton Baker KW: Your practice looks broadly at structures and systems of power and the aesthetics of techno-capitalism. Where does this fascination with late-stage capitalism come from?
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