“Bodies” seeks to contextualise innate inequality between different bodies - the self, a group, a community, or even a mass - and its use as a site of injustice under institutional and societal hegemony. The existing power dynamics and value systems which affect, both in a physical and emotional sense, the perception and habitat of the body are exclusive and cannot be universally applied, as they have not been conceived under the idea of a universally equal experience.
The outcome reflects a variety of contexts and conversations which take place across different planes of existence and interactions. There is a visible gradation and exchange of scale - from structural and systematic bodily oppression to personal/individual (self-imposed) biases and bodily views. As we exist in a hyper-connected and increasingly evolving world, the project captures the spectrum of encounters and experiences which condition us to perceive ourselves differently, influenced by standards and expectations set by those who hold power.
The project being a parody in nature - a dialogue without rhyme or reason - is also meant to reflect the nature of narrativizing bodies in contemporary contexts. It is not an equal exchange, reminiscent of the feeling of not being heard. The questions we pose are ridiculous, unjust, biased, informed by our own knowledge and backgrounds.The dialogue will amuse, infuriate, offend, alleviate, divide. It invites varied subjective interpretation and critique.
Using art as a commentary and tool for examining the different restrictive conditions which the body experiences is central to this project, and is executed through different methodologies - such as excerpts from conversations and generating answers through AI tools. More than just written and spoken accounts, the interrogation of body language and positioning as indicators of discomfort - looking at mannerisms in daily observation, TV broadcasts, images of power/disempowerment - informs the visual quality of the “Bodies” project. It is a conscious and purposeful choice to integrate non-human subjects in the imagery and dialogue, as it is also reflective of an important idea: the perfect body. Dehumanizing the subject, relying on relational aesthetics of confinement and cognitive abilities of people to relate to and assign their own interpretations and feelings on non-human structures could effectively question the idea of being a body. What is a body in the first place? More pressingly; is the just, perfect body one which does not have a presence?
