SARAH-JANE GRIMSHAW
The Abject body in constant motion
THE FEMALE FIGURE AS A HUMAN SIGN OCCUPYING SPACE
the abject body in constant motion
This work looks at the gap between making the work and the performance,
The transitions and awkwardness of doing it.
Between fidget and idiosyncratic tic – The body flutters.
The more concentrated the action, the sharper the flutter.
IN-BETWEEN STATES/THRESHOLDS/ABJECTS/LIMINALS/INTERFUSIONS
FOUR EPISODES: THE COME ON/THE FLUTTERING/THE HELPING/THE VEILED
‘Kristeva describes abjection in terms of ambiguity and uncertainty. That which is uncertain is neither subject nor object; it is that which can be expelled from the body: Fluids, excretions, tears, vomit, menstrual blood and so forth.’ Phelan and Lone: The Ends of Performance: The Public Abject Self
In this work there is no pain, there is no blood, no vomit, tears, excretion or urine.
There is beetroot. There is my body. There is representation.
Beetroot, my body, and representation.