performance wearing groin protector jockstrap with recycled plastic milk bottle, clear drinking straw, bubble solution, glass vase and marble plant toppers accompanied by a mixed media sculpture of plastic milk bottle and paper cutouts, 2 hours. 

performed at GROW Tottenham, London, United Kingdom for Interested?, curated by Jakob Buraczewski and Anna Kolosova, 2018.

performed for the second time at Theatre Academy, Helsinki, Finland for LAPSody, curated by Live Art and Performance Studies, 2019.

photo documentation by Julius Töyrylä and Nerisa Del Carmen Guevara.
video documentation by Anton Verho.

translated into Could play no more (study of Hyacinth), pencil drawing, photographs and clear tapes on paper, 25x40cm, series of 7, 2019.

One foot partially submerged in cold water, tip-toeing on top of a mountain of cylindrical marbles within a glass vase. His other foot on the ground, struggling to keep his fulcrum upright. He is almost nude- not naked, covered only in white jock strap, a suggestion of his involvement in sports, further reflected by the durational piece that utilizes on perseverance and stamina. Despite so, he is also an infant in diaper or an adolescent facing sexual awakening.
In his hand is a familiar plastic milk bottle, filled with bubble liquid and slowly he blows into a clear straw, resulting in hyacinth-shaped bubbles sprouting from his mouth, phallic foam unfamiliar object growing from his jaw. The bubble accumulates throughout the performance, leaving a residue of an energetic action performed repeatedly.
The body is relatively passive, almost like a living sculpture, moving very subtly and staring blankly yet intensely like a Renaissance statue. His posture is unhurried and involved pauses, in the attempt to create dynamic images of the masculine. 
His presence is almost suggesting birth. Yet accompanying him is an identical bottle lying idly on the floor, its cap is barely hanging and a paper collage sipping through its torn side. Like a bleeding head frozen in time, both elements silently weave a narrative that hints towards the Greek mythology of the hyacinth flower. 
Forcing Hyacinth also borrows the narrative of the botany process of forcing hyacinth bulbs to flower. Hence within social context, it is a commentary towards the pressure, self-inflicted or otherwise, of growing up.