Metamorphosis

For the second phase untitled, it was the sequence of the previous act of domestic violence performance. This took place in the dark room, with my images with aggression makeup, were transmitted in my body through the projector, and I was wearing black clothes to show good image. To perform this action I had the collaboration of Carlos Fernandes colleague, he interacted with me in this action, with action of violence

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htmlhttp://en.wikipedia.org/wiki/Punch_and_Judy

My performance art piece was contextualised too on couple artists Punch and Judy. Their artworks are a traditional, popular, and usually very violent puppet show featuring Mr Punch and his wife Judy. The performance consists of a sequence of short scenes, each depicting an interaction between two characters, most typically Mr Punch and one other character (who usually falls victim to Mr Punch’s club). It is often associated with traditional British seaside culture.

And Tim Nobel and Sue Webster, they represent dark, witty and original works have addressed issues of sexuality, identity, self-representation, and taboo.

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http://www.timnobleandsuewebster.com/he_she_2004.

My performance art piece was contextualised too on couple artists Punch and Judy. Their artworks are a traditional, popular, and usually very violent puppet show featuring Mr Punch and his wife Judy. The performance consists of a sequence of short scenes, each depicting an interaction between two characters, most typically Mr Punch and one other character (who usually falls victim to Mr Punch’s club). It is often associated with traditional British seaside culture.

The mask on the face has a meaning of metaphor, where people hide their own feelings or actions. And as part of the performance I looked at the carnival masks. Brazilian-Masks are an important feature also in the Carnival customs, where people often use to not be recognised or make use of masks representing any political figure and African rituals. For the African tribe, the use of masks has a spiritual meaning or connection representing cultural values.

(http://interesting-africa-facts.com/African-Art/African-Masks-Information.html)

African tribal mask

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http://www.bronzecreative.com/african-masks-africa-tribal-mask.html
http://www.friendlytrading.co.uk/african-traditional-mask
https://www.pinterest.com/jjartwell/masks/
http://pixgood.com/african-tribal-masks-
https://www.pinterest.com/germainekey/african-masks/designs.htmlBrazilian carnival mask

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http://www.photographersdirect.com/buyers/stockphoto.asp?imageid=2454055
http://www.dhgate.com/reviews/2014-world-cup-mask-reviews.html
https://www.blendspace.com/lessons/-Vu5c3xWhswL6w/carnaval-masks

Which artists Did I contextualise to do my Performance?

After a few tutorials with teachers, I did research on which artists I could have as a reference for inspiration and contextualise issues related women’s domestic Violence. My search was in two artists:

After a few tutorials with teachers, I did research on which artists I could have as a reference for inspiration and contextualise issues related women’s domestic Violence. My search was in two artists:

-Nan Goldin: Nan’s scene evokes pain and it is emphasised by her standard photographic technique of heavy flash and strong colours. Nan’s lipstick can also be seen as an act of defiance. She said: “ I wanted it to be about every man and every relationship and the potential of violence in every relationship.” Nan’s intentions are admirable; if her self-portrait can speak to people affected by domestic violence then maybe something can be done to inspire people to take action. “I often fear that men and women are irrevocably strangers to each other, irreconcilably unsuited, almost as if they were from different planets. But there is an intense need for coupling in spite of it all.” Even if relationships are destructive, people cling together … The tension this creates seems to be a universal problem: the struggle between autonomy and dependency. The Ballad of Sexual Dependency begins and ends with this premise … I’m trying to figure out what makes coupling so difficult.”

Nan one month after being battered 1984

http://www.tate.org.uk/art/artists/nan-goldin-2649
I chose Nan Goldin by the way she showed awareness of violence through her self-portrait, so I inspired to do the makeup. If your self-portrait can talk to people about violence and its strong red lipstick and can be seen as a challenge, so I think my performance as a whole, can also talk to the people affected and transmit consciousness to others.

Cindy Sherman: Is an artist known for her conceptual self-portraits in various scenarios that parody stereotypes of women The panoply (range) of characters and settings (and scenarios) is drawn from sources of popular culture: old movies, television soaps (manufacturers) and pulp magazines, with Sherman pictures on paper some idols of TV and movies.
Her mood early work ranges from quiet introspection to provocative sensuality. In the early 1990s made sharp caricatures of characters depicted through art history, appearing as a grotesque creature in period costume. His approach is an ironic message that creation is impossible without the use of prototypes; identity lies in appearance and not in reality. In this, the artist assimilated while maintaining a critical, visual tyranny of television, advertising, and magazines. Through a number of different works, Sherman has raised (up) challenging and important questions about the role and representation of women in society.

– http://www.christies.com/features/cindy-shermans-untitled-film-stills-4973-3.aspx

Sherman by her self-portrait in photographs took her to worry about the role of women in society. I also used my self-portrait to explore the theme of violence with makeup to use in Lens Based Media.

Self–portraits form part of my painting practice by use strong and vibrant colours in my paintings; it was the influence of living in the warm climate of Brazil too. In most of my performances I also make use of my physical body, I do not represent myself, I am only an instrument in raising issues and awareness.

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In November 2013, our class was doing an exhibition by means of experience only among the students with our teacher Andreas Vaz, each of us analysed the work one of the other and given our own opinion. We were free to choose the location inside the gallery for exhibition and were analysed by the teacher through our choice. My presentation of the performance was in front of a small kitchen inside the space, which I used a red large kitchen towel for exhibit a picture I painted on the subject of my Domestic Violence performance. All these details were analysed, including the colour of my clothes, as follows in detail the analysis:

The proximity of kitchen, it may be a reference to the domestic violence, the red colour of towel represented the burning love in a relationship between two people, and also the bloodshed in a violent act; and dress violet, recalled the passion and death of Christ by the act violent on crucifixion of Christ by Pilate, and this colour also convey sadness, pain, and death.

This was a valuable experience for me to know how to choose the space inside a gallery to view, and this same space also has its meaning.