Abject & Self, 2018                                                                                                                                                                                               Home
Metal Cube / Pulse Moniter / Mesh 

The object itself, represents a space in which one would exist without the necessary resources to be a part of the social society. The garment, tautly stretched over, represents the boundary between isolation and the social.

The boundaries, rather, are uncertain – porous, indeterminate spaces. The idea of the body’s edge and the notion of the self as being contained within a finite space is — the definitive body.

One is both excluded from, and yet defined by, the structure that defines a transgression. The gloves and sock attachments allow a transgression between the isolated space and the social society to take place. Transgression, is therefore about liminality and ambiguity – about a place or a state that is perhaps uncertain and other. The definitive body does not respect borders, positions, rules. Through considering both the internal and external experiences of dress, it is as if the skin, a fragile container, no longer guaranteed the integrity of one's "own and clean self" but, scraped or transparent, invisible or taut, gave way before the dejection of its contents. The abject of self, and the power of disgust at one’s own bodily functions is seen in the the latex castings of the hands and the feet which show a true fingerprint detail - a true lifelike, corporal object of the artificial self.

Exploring the boundaries of the self, the in-between, the ambiguous, the composite. It is then that the object ceases to be circumscribed, reasoned with, thrust aside: it appears as abject.

Co-directed by Madeleine Porritt and Nathan Guy
Installation/ Object: Madeleine Porritt
Cinematographer: Nathan Guy
Gaffer: James Thompson
Composed by: Louis Wheeler & Allan McConnell
Projections by: Louis Wheeler & Casey Nicholls-Bull
Model: Carly Stone
HMU: Zoe Crawford