My work focuses on the subject of sleep paralysis. Sleep paralysis is a condition which takes form on those moments of falling into and coming out of a deep sleep.
I can often feel suffocated, in pain, tortured and more recently sexually assaulted to a level. One of my main focuses is to exploit what occurs in these moments. The triggers which affect my sleep such as napping and excessive drinking play important factors and consequently further the tormenting effects. I tend to do this by recreating the moments through mediums of photography, sound, video and collage.
I don’t want to necessarily tell a story but give a feeling, a moment where you can see this sequence of coming into and out of an ‘affected sleep’. The most torturing part is the fact that the majority of the time I ‘m not actually moving and it’s all in my head. It is also important for me to exploit what I see and hear but when I deem necessary. Contrasting all these elements then gives this insight to a part of my brain which feels like it’s creating another day in the time I’m sleeping.
Weirdly, the more disturbed occurrences can be overlapped with ‘normal’ happenings such as; TV sounds, visuals and conversations. And I say normal but even in these occurrences, the overlapping of the two subjects can then create buzzing noises and confusing flashes. I’ve found myself more recently using my phone to record with. My phone gives this sense of instant, raw reaction towards my sleep, it makes more sense to me in terms of being something around me at all times and is the quickest and most understanding way to capture how the illness has immediately affected me. Using ‘Boomerangs’ I’ve found an instant way to again emphasise on flashing, receptiveness and feelings of struggle.
The type of work I am in process of making in the build up to my exhibition are primarily in film and sound. I am working to a point of making at least one video or sound piece a week currently. This should result in me having at least 10-12 finalised pieces to use in my exhibition coming to the end of April.
A projector, lights, old box TV’s, disks, sound recorder, plinths, screw drivers, screws, tape measure, plug sockets, filler, sand paper, duct tape, white tack/ sticky tape, step ladder, paint, roller, extension leap, potential cable wires to keep extension leads neater, potential level, pencil, pen, masking tape/chalk/ sponge/cloth, dust pan and brush,
I plan to use the dark room or some other similar surroundings. Have a projecting film playing on a loop on the main wall, smaller videos playing on the box TV’s and sound pieces playing on another device. The lighting will be enhanced in specific areas to draw the audience towards the playing sounds and videos, conflicted by the disturbing nature of the playing sequences. I want the box TV’s to be layered on top of one another if possible and displaced to a point of feeling slightly uncomfortable. I want the arrangements to continue to bring feelings of awkwardness, confusion and drifting, relating to how I feel in the moments of my sleep paralysis. Flickering lighting, I plan to have to further these points; coming in and out of a deep sleep, a sudden friction, pull, blur and the sounds to further the echoing conversations and almost painful whaling vibrations.
(Elements will become clearer after my meeting with Neil next Thursday; such as exact spacing, how much and what equipment exactly need).
My screen sizes will be a basic sizing of box TV’s, my projection, should fit the majority of my focus wall and I plan to have QR codes and some form of links in which where the audience can watch the videos and other elements of my exhibition, through phone devices etc., in doing so, I feel this shall bring further intimacy and direct connections towards the personalisation of what my works about.
I expect the processing of my exhibiting to not cost much as I already have blank discs to burn my videos on to, I plan to borrow TV’s, a projector and sound recorders off the technicians, which I shall sign up for asap to make sure I get what I need. I will also be going to charity shops and other cheap stores to find TV’s as I appreciate the fact that other students will need to borrow them too. If walls and plinths need painting, this would cost little, as well as tapes and other small appliances. Laura the art supplier, also has other materials available and anything she doesn’t have, shouldn’t cost much.
Vito Acconi: ‘SEEDBED’ & ‘WHERE WE ARE NOW (WHO ARE WE ANYWAY?)’
And I guess, my need to express my inner, disturbed moments, also feel like this realise. It is this fixation a part of you gains, whether you have control or not, you become the object. Keeping these thoughts and feelings private feel like I’m hiding some part of me away, whether disturbing or not, they’re a part of me and need to be addressed in some manner. Similarly to how Acconi creates links between art-doer and the audience, I want mine to do the same between my mediums, my illness and the audience. This may not always be clear as such but as long as the audience feels, even just for moments, how I feel in the moments of sleep paralysis, I will have succeeded.
Uncomfortable, intrigued, tormented, confused, shocked, disorientated; all play as important key words.
Acconi’s works captured my eyes in consideration towards stimulating my exhibition work as it feels professional and the multi-angles emphasise on the eeriness and subdued nature of the work. With the head sets and screens being at head level, it feels perfect for the viewer to really engage with the work. Projecting visuals only further these elements more so.
But again further talks with technicians shall clear particular ideas up.