1 Month Alone With Others

A short video documenting the performance piece 'One Month Alone With Others' by Alex Turp. Performed at London College of Communication. Filmed by Davide Virdis. See more of my work at www.alexturp.com Instagram: @alexturpysson

The performance took place in the Atrium Gallery at the London College of Communication. The Atrium is a large 20 x 20m space which is able to be viewed from the three floors above. The set consisted of a 10 x 10m clear tarp, one wooden chair, a mattress, a bell, a concrete slab, a painting, 30-50 white pieces of cloth and three bottles of paint (red, blue and yellow) with brushes.

When I was planning the performance I had hoped that it would last 20 to 30 minutes. The performance would go on to be 45 minutes long, so long that the camera ran out of space as we had not planned for it to go on for such a long time.

The mood of the work was far more emotionally charged than I had expected. I define the work as the interaction between the audience and ‘X’. ‘X’ can be defined as the viewer, the artist, the rest of the audience, silence, action, etc. I had expected there to be a limited range of responses to the performance due to a fear of engaging with the art and breaking a invisible barrier that separates the work and the audience. However, the majority of the audience decided to fully engage with the performance, allowing the work to be fully realised.

The artwork can only be defined when it is no longer viewable, the parameters of the work in the moment of creation are fluid and expansive, after the act, they are rigidly set in place. Unexpected objects obtained through the performance include 30-50 paint covered pieces of cloth and two additional paintings in the form of a t-shirt and corduroy trousers.

This is the second performance piece that I have made, but this is by far the most successfulperformance piece to date. The only reason that I say that it has been so successful is twofold, firstly it is the most content I have been whilst creating a piece of work in my life as a practicing artist. Secondly it is the piece with the widest reach. The audience for the work includes the people who were present at the performance, the people who have viewed the work as a video on vimeo and the people that have viewed the work on Instagram.

In contrast to thepainting in which I know there is room to improve, both compositionally and technically, I believe that the performance aspect of the work is as near to perfect as is possible to achieve at this point in my life. I know that there is always room to improve both an artwork and as a person, but I see the work as a reflection of where I am in my life at the minute. 

When the video (the record of the performance) begins, the true nature of the performance is hidden by the soft warmth of the music and bright colours of the glitch. In contrast, viewing the outro which is very similar to the intro, the context has now changed. The music is now a reminder that the past is firmly behind us, and the glitched footage now seems too right and too busy. The heightened awareness that the footage of the performance has caused in the viewer changes the perception of the video. Not only does it cause the viewer to change how they look at the video, I hope that it has changed how people look at mortality as well as how people interact with the elderly.  As I stated previously in context to the painting, the work is about confrontation. I believe that the video is the final element of my argument that confrontation is required to create meaning in life and not just art.

Preface to a Storm

Experiment into how facial expression and body language change the narrative of a moment.

Performance sketch 2

Experiemnt into how far I can push my body, displaying a full range of emotions through facial expressions and the way I have contorted my body.

Bell Tolls for us All

Performance drawing that examines the relationship between the myself and the 'bell'. Here the bell in question is a fiction of my imagination, leading me to question wether or not the audience believes I am interacting with an object when there is nothing actually there.

Performance Sketch - slap4

A visual sketch/rehearsal of the violence that will occur in my performance piece. Rehearsing how people will slap me and my reaction to being slapped.

Performance Sketch - slap3

https://vimeo.com/192785166

Performance Sketch - slap2

A visual sketch/rehearsal of the violence that will occur in my performance piece. Rehearsing how people will slap me and my reaction to being slapped.

Performance Sketch - slap1

A visual sketch/rehearsal of the violence that will occur in my performance piece. Rehearsing how people will slap me and my reaction to being slapped.

Push(ed)

The aftermath of my performance piece, titled Push(ed)

Push(ed) Stills

Stills from my performance piece

The Beast of Bill Cosby

My film tackles the difficult subject of Bill Cosby and the allegations of his involvement in sexual assault. Using the description of the man from one of his comedy LP's, I have reattributed the words for the modern age post-Cosby.

1 Month Alone With Others
Preface to a Storm
Performance sketch 2
Bell Tolls for us All
Performance Sketch - slap4
Performance Sketch - slap3
Performance Sketch - slap2
Performance Sketch - slap1
Push(ed)
Push(ed) Stills
The Beast of Bill Cosby
1 Month Alone With Others

A short video documenting the performance piece 'One Month Alone With Others' by Alex Turp. Performed at London College of Communication. Filmed by Davide Virdis. See more of my work at www.alexturp.com Instagram: @alexturpysson

The performance took place in the Atrium Gallery at the London College of Communication. The Atrium is a large 20 x 20m space which is able to be viewed from the three floors above. The set consisted of a 10 x 10m clear tarp, one wooden chair, a mattress, a bell, a concrete slab, a painting, 30-50 white pieces of cloth and three bottles of paint (red, blue and yellow) with brushes.

When I was planning the performance I had hoped that it would last 20 to 30 minutes. The performance would go on to be 45 minutes long, so long that the camera ran out of space as we had not planned for it to go on for such a long time.

The mood of the work was far more emotionally charged than I had expected. I define the work as the interaction between the audience and ‘X’. ‘X’ can be defined as the viewer, the artist, the rest of the audience, silence, action, etc. I had expected there to be a limited range of responses to the performance due to a fear of engaging with the art and breaking a invisible barrier that separates the work and the audience. However, the majority of the audience decided to fully engage with the performance, allowing the work to be fully realised.

The artwork can only be defined when it is no longer viewable, the parameters of the work in the moment of creation are fluid and expansive, after the act, they are rigidly set in place. Unexpected objects obtained through the performance include 30-50 paint covered pieces of cloth and two additional paintings in the form of a t-shirt and corduroy trousers.

This is the second performance piece that I have made, but this is by far the most successfulperformance piece to date. The only reason that I say that it has been so successful is twofold, firstly it is the most content I have been whilst creating a piece of work in my life as a practicing artist. Secondly it is the piece with the widest reach. The audience for the work includes the people who were present at the performance, the people who have viewed the work as a video on vimeo and the people that have viewed the work on Instagram.

In contrast to thepainting in which I know there is room to improve, both compositionally and technically, I believe that the performance aspect of the work is as near to perfect as is possible to achieve at this point in my life. I know that there is always room to improve both an artwork and as a person, but I see the work as a reflection of where I am in my life at the minute. 

When the video (the record of the performance) begins, the true nature of the performance is hidden by the soft warmth of the music and bright colours of the glitch. In contrast, viewing the outro which is very similar to the intro, the context has now changed. The music is now a reminder that the past is firmly behind us, and the glitched footage now seems too right and too busy. The heightened awareness that the footage of the performance has caused in the viewer changes the perception of the video. Not only does it cause the viewer to change how they look at the video, I hope that it has changed how people look at mortality as well as how people interact with the elderly.  As I stated previously in context to the painting, the work is about confrontation. I believe that the video is the final element of my argument that confrontation is required to create meaning in life and not just art.

Preface to a Storm

Experiment into how facial expression and body language change the narrative of a moment.

Performance sketch 2

Experiemnt into how far I can push my body, displaying a full range of emotions through facial expressions and the way I have contorted my body.

Bell Tolls for us All

Performance drawing that examines the relationship between the myself and the 'bell'. Here the bell in question is a fiction of my imagination, leading me to question wether or not the audience believes I am interacting with an object when there is nothing actually there.

Performance Sketch - slap4

A visual sketch/rehearsal of the violence that will occur in my performance piece. Rehearsing how people will slap me and my reaction to being slapped.

Performance Sketch - slap3

https://vimeo.com/192785166

Performance Sketch - slap2

A visual sketch/rehearsal of the violence that will occur in my performance piece. Rehearsing how people will slap me and my reaction to being slapped.

Performance Sketch - slap1

A visual sketch/rehearsal of the violence that will occur in my performance piece. Rehearsing how people will slap me and my reaction to being slapped.

Push(ed)

The aftermath of my performance piece, titled Push(ed)

Push(ed) Stills

Stills from my performance piece

The Beast of Bill Cosby

My film tackles the difficult subject of Bill Cosby and the allegations of his involvement in sexual assault. Using the description of the man from one of his comedy LP's, I have reattributed the words for the modern age post-Cosby.

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