Our Bed is comprised of video, textile and photographic installations, performances and writing.
The video work begins with the reconstructed voice of a Uruguayan rugby player who crashed in the Andes in 1972. He describes the design, construction and use of the team’s emergency beds inside the fuselage of the wreckage. Images, sound and text from archives, mass media and personal notebooks make space for viewers to cohabit these beds, to partake in the imaginative composition that they create. The protagonist elaborates upon the methods that the boys improvised, drawing on an example: a contemporary alphabet fashioned out of jockstraps. This cliché of homosexual identification helps express the different contexts that the boys find themselves in (bed, plane, book).
In interjecting footage of a live televised rugby match, rain and mud disturb the clean capture and transmission of the event. Streaks from the player’s bodies are animated into smears on the video screen, activating their gestures and blurring the subsequent content for the viewers of this video.
The textile installation Gareth, 2022, is composed of an expanse of shredded red sports fabric that once made up a rugby shirt; sections of armpits, collar, tags and graphics meet the bodies of the viewers at multiple points across the installation.
An extract of Our Bed is installed in the website of The National Sculpture Factory, Cork.
Bed Text was published in the No. 4 Fetish edition of Mirror Lamp Press. Read online at Mirror Lamp Press.
CGI, AI and technical consultancy: Harry Sanderson. Translation: Maria Jose Legelen and Núria Querol. Supported by The Elephant Trust and The Art Department, Goldsmiths, University of London.