Places where things had been put because they had been violently displaced, and places where things found their natural ground and stability examines space in its capacity to exile, entrap, contain, and grant sanctuary. The domestic space (and the internalization of), can be considered a locus which maintains a multitude of negotations across intergenerational, political, social, geographic, and imaginary planes. Repurposing and obfuscating ritual action, the work confronts the ambiguous vacillation between imposed control of, or concession to the collective, and that of individual agency. The movement of the limbs in and through a fickle medium may mimic the internal, simultaneously surfacing and repressed processes of negotiating relationality to self and the other.

Wax castings of the limbs, and detritus resulting from this performance were temporally engaged with and conceived a new body of work, Container for a precarious record (2019).





This performance was first presented as an Open Studio at New Media Society, Tehran, and Pirsook Art Centre, Shiraz, Iran in August 2018.
With thanks to the Ontario Arts Council and Chalmers Family Fund.