Erwin Wurm’s ‘One Minute Sculptures’ (1997) are a series of photographic performances made through immediate reactions to the space and objects, composing people with objects. The participant becomes a sculptural form to some extent through the adaptation of their body and how they are positioned with the object. The participant loses the self in the attempt to become equal to the object, working collaboratively to hold poses for one minute. These images present an absurdity through visually and physically intricate, humorous interactions. These were an inspiration for me to explore the object/body relationship and I decided to create a series of my own, experimenting how my body can fit into the shapes through various interactions.
Lygia Clark and Hélio Oiticica explored throughout their practices and collaborations with one another about the ideas of the immaterial experience. Even though there work often utilised the use of haptic materials and adjustable sculptures like Clark's 'Elastic Net' (1974), the emphasis was on the collective experience, not to the detriment of the individual thought but to create a platform where participants can freely engage using their bodies and mind. They, however, view objects differently to Wurm with the establishment that the object/material is secondary to the participant and only become activate through the engagement of the viewer. In these interactions, I explore this immaterial experience how through my own choices and the engagement with the sculptures I articulate my body into different positions - undirected and allowed me to explore the dynamics of movement on the precarious surfaces in a safe space. If I were to revisit this with a group of people I think it would change the dynamic, it would be able the relationship with each other as well.
I wanted‘Squishkind’ to be activated once it is interacted with through the body, going beyond the just aesthetical properties of installation and creating a link between the body, mind and object; moreover, the experience is equal to the physicality of the work. The shapes have been carefully selected to produce different experiences when interaction takes place. 'Slope' has large curves which when sat on bends the body into a precarious 'U' shape - depending on which curve it could be highly uncomfortable. 'Spikey' would almost suck in the body due to the zigzag top and became quite a humorous interaction. I spent time with the sculptures in the space and interact with the individual sculptures trying to lie, sit, stand and generally connect my body with the contours of the shapes in immediate responses. These are captured through several images that document my journey of participation, I adjusted my positioning to interact with the shapes, simultaneously the shapes squished and moved to accommodate me.
