site-specific performance with carrots and flashlights accompanied by an installation of clear plastic cups, carrots, a stainless steel knife and three deep breathing live-recorded sound played in loop, approx. 20 minutes.

after PinocchioP.

performed at Milford House, Tipperary, Ireland for Convergence, 2022.
produced by Live Art Ireland and BBeyond.

photo documentation by Jordan Hutchings.

translated into with no sign of itself (study of the aforementioned Rabbit), pencil cutouts and carrot dye on paper and two clear plastic cups, 15x21cm, series of 4, 2022.

A reflective stainless steel knife lying idly, balancing itself on a slice of carrot, splitting it in half momentarily. In the next room, divided by a wall of what used to be the living quarters of the village’s carrot farmers was clear plastic cups, arranged in a rigidly formed swirl, one of them had sliced carrot sticks, ready as a snack. The rooms, on the second floor or a barn were relatively dark as a male performer entered the space, hurriedly recording his deep breathing as a result of a sprint he performed on his way to the site. The deep breaths were played on loop, echoed throughout the performance, filling the already claustrophobic space with tension, stealing its oxygen.
His next move was to take two mini flashlights as he took turns and patiently so, observed his surroundings. The audience could barely see faces but two circular lights, almost mimicking two moons colliding in the space. He then gestured two cute hand poses, creating a silent pantomime of shadow puppets against the bare walls. He proceeded to attaching both flashlights onto his shorts’ pockets as they now lighted the floor with two distinct spherical white lights.
He travelled slowly around the plastic cups swirl, highlighting its periphery. The two circular lights often collide, creating a round shape almost like a retina as it attempted to converse with the center of the swirl itself. He exited the first room as he stepped into a slightly more luminated second room where the knife awaited him.   
He picked a handful of carrot, despite store-bought they remained unpeeled, almost fresh from the soil. With an attempt to fit as many into his mouth, he approached a nearby empty wall and started scratching, leaving orangey residue, like an unidentified and abstract portrait. His action was energy draining as exhaustion put a timer on it. He resumed with the flashlights as he slowly retreated by walking backwards towards where he entered from. All this while his deep breaths remained circulating in the space, like a ghost of a distant past. 
The performance is inspired by the act of seeing and looking (above or forward), perhaps dreaming as a result of labour and its potential fatigue. Devised through identifying the masculine or male body, it aims to question personal expectation of carrying such identities. Also inspired by an amalgamation of cultural lenses, the actions attempted to provide various narrative elements that are open for receptions, but within social context, it is ultimately a (however ironic, happy) plea towards self-inflicted motivation and hope.