I am an artist, poet and writer interested in escaping the sticky residue left on the self from languages complexities. I studied BA Fine Art at Central Saint Martins, London. Since my degree I have continued to investigate how to translate the internal vocalisation of the ‘I’ within language’s barriers, sound and silence. I See Voices is a blog for each one of us to communicate beyond language’s expectations.
I present to you silent vocals, penetrated upon the page, asking you to coexist through its tongue-tangling utterances.
SPIT or SWALLOW is a proposition for the audience to consider how they personally relate to language. Does one swallow the tainted formed letters, submitting to societies use of language? Or does one leave it sitting, loosening within the salvia of the mouth, rejecting its intentions to hinder the thoughts of the individual? We must take into consideration how we digest our surrounding language, thoughts, ideals and stimulation. Language can be a manipulator. However, we have the capacity to prevent its continuation towards the root of our being. There is no perfect answer, just a contemplation of how one can relate to language in the future.
The Oath is small in delivery but is an important consideration towards the meaning behind the voice of the artist. I am personally seeking and exposing to you, my audience, the conscious decision I am making in fuelling my artistic practice. By signing my name I solidify a promise towards vocalising and deconstructing languages' implications; those which are submerged deeply within our saliva and lays heavily upon our flesh.
The Director's Prose is a metaphor for the strict and controlling thought process vocalised within one’s mind. Theatre is used as a symbolisation of the performance of the voice. Through bring in familiar elements one may relate to, it situates the language within a space, releasing thoughts from its internal cage.
I bite, chew, tear and swallow this cut throat squabble our tongue so naively echos. C-UT UP-S is a divide for linearity in language. Hear it’s scream or become lost in its in its translation to escape its forced existence as communicator. For there is not one voice. Listen.
The Parts (I) is a theatrical performance space. These writings are to help resonate the idea of the separated body, existing independently. The Parts (I) clenches at the "performativity" of our physicality, exploring the individual monologue of the flesh, sight and hearing. The voice of the Other begins and is staged within the mind, transcribing its own message towards a history of physicality.
The Bodies’ Stroll is a collection of works exhibiting the escapism of the internal voice within its physical self. A storyteller, it begins to tell tales of its relationship found within its environment. Through symbolisation and metaphorical inserts, the voice screeches towards body politics, begging for its singularity within culture’s dictatorship of characterisation.