Of One’s Hour examines how “brokenness” not only pertains to objects but also the physical and metaphysical limitations of the body. It invokes the tableau vivant by combining sculpture and performance with minimal movement into a live experience. The piece draws from an amalgam of research and investigations, including athletics, romance, the 18th century British protofeminist Mary Wollstonecraft and her daughter, Mary Shelley, as well as “brokenness” as a means towards reinterpretation of the ideal female body and psyche.
I hear you, I hear you, I hour you
Can a person inhabit a sculpture, and a sculpture inhabit a person? Inherent in both romance and athletics are also the injuries, the fractures, and the healing. Are there objects that gain strength and beauty only after they are mended? When we see a fragmented Venus, she seems somehow “just right” when she is left broken, and baring the record of her endurance.
Teetering between the comical and the pitiful, Of One’s Hour offers the strength in admitting vulnerability through live performance with objects that have a posture, an action, or a task.