The Project has many layers of different practices coming together such as: photography, performance and installation. They have been mixed in such way, where clear definitions are not easily found. In other words, the installation and performances can be seen as separate pieces but they also can be one piece. In my art practice, the performance is either a staged in a space or studio and self-documented through photography or video, or a subtle intervention or interaction and participation not in any way ‘dramatic’. In case of Mama’s Garden Project, all of the performances are unannounced to avoid the gap between the performer and the audience or visitors. There is no clear start or end, or meticulous planning, rather, the performance is led by the feeling of the performer. However, this method will only work with a suitable project and appropriate setting.
In Mama’s Garden Project, I can distinguish 5 pieces of performances. The first two are, more of a preparation pieces where I am exploring the theme more to have a fuller picture of the final installation. The performance No 3 is, a direct engagement with public through simple dialogues and interaction. In contrast, the performance No 4: Waiting at the Door is completely unplanned, came out of my response to the space where the structure of the space conditioned me to wait for someone, in this instance; for my mother who is far far away. For a brief period of time, the shop unit has become mine. A sense of ownership was strong and hard to put an end to the experience. And then the last performance comes in with a bit sadness of saying ‘goodbye’ to the installation and the space occupied me.
Performance No 1: Daughter
Performance No 2: In My Mother’s Outfit
Performance No 3: The Participatory
Performance No 4: Waiting at the Door
Performance No 5: The Farewell
