Giovanni
Uche
Instagram, Behance, Email ... About Me
Shop , What’s On
Giovanni
Instagram, Behance, Email ... About Me
Shop , What’s On
The Brief -
The module will explore how performative embodiments of bodily experiences can confront the abstract violence of late capitalism through exaggeration, hyperbole and carnivalesque excess.
Shell and BP Oil's presence in Nigeria
Masquerades in Nigeria, were to be unidentifiable beings; once worn, no trace of the human is left, and an Idol takes its place; the body is simply a conduit for its whims and purposes.
Using the Egungun masquerades as a reference, I aimed to create a character that was mystical and ephemeral in it’s performance. I imagined, big pieces that allowed for expressive movement. I also collected other visual references to African cultural attire to visually hold it in place. I also implemented the effects of the oil giants into the costume, seeing how I could represent it visually, I experimented with the noose, the fishing net, fish and oil strips, leaks or marks. The oil was the most important thing for me to display as it’s presence in the region is indisputable and negative effect clear also how it in a way bleeds from the earth was a strong visual metaphor, how I would go about that was the issue.
A small collection of my visual references.
Designs of the character, done in Photoshop.
This project was my first foray into working with textiles and professional applications of Papier-mache. Exploring how to take my work further through different forms of making.
THE MASK
Made with a cardboard skeleton as the base & 9 layers of papier-mache, the mask is made to resemble those you’d see in the west of Africa. A visual inspiration was the Agaba mask of the Niger-Delta, a mask connected to the struggles of young men in poorer communities and how they’re viewed in wider society, I wanted that rage to play a part in my work. I made it vaguely human, while playing on it’s features to invoke emotion through performance more than design.
It is made of 4 parts, the base which covers the majority of the face, excluding the lower lip, the 2 ears which were later connected through the use of a metal wire allowed for movement, and finally the lower lip which initially was going to be mobile but this was scrapped to keep my hands free.
Manipulating the cardboards into the mask’s initial shape was difficult at first, but this was an exciting process to take on, working with tape and a hot glue gun to keep it’s form. I used 9 layers of paper mache to mould and smoothen the surface of the mask, adding texture and detail with each new layer. I used a glue gun and fabric to create the head-dress around the mask, to conceal my figure completely.
Experimenting with Fabric
Using the textile workshop any chance I had, also taking some work to my partners place to use her sewing machine. I used every chance I had to gain a solid understanding of the basics of sewing, pattern making and costume design. The top and trousers and mask were the basis of the costume so any chance I had to experiment outside of creating the final piece I would.
Patterns were cut out of old clothing items I had in mind, I used a seam ripper to separate each segment of the garment, Placed them on pattern cutting paper with heavy weights, tracing then cutting out the shapes, making adjustments in conjunction with my design.
Choosing the Fabric
With improved understanding of sewing after using the inexpensive fabrics, I was ready to implement those same lessons into creating the main base of my costume with the fabric I selected. This phase was a lot faster as I had grown a lot more confident, making the necessary adjustments where I needed to make the costume much more comfortable.
Images of the costume being put together.
Adding the Accessories
Making the oil, my initial plan was using chiffon or some fabric that was loose and reflective in a way, rip it into smaller pieces and stick them to the base. I later decided to make some sort of apron, to wear over my outfit as I risked causing irreparable damage to it and with so little time before the performance, I couldn’t risk it. Talking with the Textile technician, I came to the realisation, bin bags would make for a better oil substitute as it plays a perfect visual role as a waste product and is also made using natural gasses.
The bin bags were stripped and stapled to the apron’s base which was made using a more durable black rubble bag that had been cut to shape. I also sewed and stapled on Velcro at the back to make it easier to put it on. The ability to take the apron off and on also worked in developing my idea for the performance, and enhancing it’s dual phase nature. Allowing my character to be draped in all the oily regalia during the second phase.
Secondly was the fish collar, using some of the excess rubble bags I had left I cut them out into fish shapes, and used the sewing machine to put them together, using a dense black fabric that was leftover in the workshop as the base for the neck that holds all 9 fish together. I proceeded to paint fish skeletons on the black fish shapes with white acrylic, as they were to serve duel purpose costume and prop.
The class and I had a lot of support when it came to working on our performance, Infinite Opera were invited to give us workshops on acting, tune our music choices and support us in crafting a coherent collaborative story line.
We all had different storylines, all relating to the stress capitalism puts on the workers body, mind and soul. We each explored this in different ways and had to work together to be able to perform as a collective. The performance itself was mobile, with different characters leading the audience from venue to venue, inciting the next action.
Infinite Opera also helped us with our rehearsal, understanding our timing and greatly improving how far we go in terms of performance, I for one thought I had enough of an Idea of the movements I would make to bring life to my character, with their guidance I came to understand I could take it even further, make myself smaller and bigger depending on the phase of the performance. Also helped me see some of the faults in my design and where it could be improved, i.e. expanding eyeholes on the mask and adding a foam pad to make it more comfortable wear for long stretches.
You can see in the video, mistakes were being made when it came to remembering each step and even more importantly my inability at the time to see the visual ques to due to the design of my mask.
I also undertook a training regime in preparation, Any opportunity I had I went for a run or engaged in high intensity exercises anything I felt would improve my stamina for the performance as the character had an active role in most of the scenes it was in, this was self imposed but I do believe benefited me at the end.
The Final Piece
I am happy with how this came together, I made a few cuts here are there in regards to time and skill of application, but this project has opened up a whole new world for me in regards to making and working on physical pieces. There were some issues in the costumes for example the inner thigh and arm area rip in the middle of rehearsals, this was patched up but did make me realise I didn’t take the flexibility of the fabric into account.
I believe I hit the goal I set out for with this Masquerade, I would like to make more in the future, expanding on the type of materials I put to use. All in all this project has been fantastic in expanding my confidence in my skill as an artist and maker.
The Performance
My performance consisted of 2 phases:
First was the mourning, I waited for the audience arrive in the hall I was stationed at, Once there I would stumble, crawl and fall whilst leading them to a pile of torn up black rubble bags that represented a sea of oil, with oil spills leading the way, once I arrived at the sea a supporting actor will arrive spotting a camo T-shirt with “Gov for Hire” emblazoned on it, with noose in hand they will strike the ground as I react and convulse in kind. I will struggle and begin to collapse as I am enveloped by the oil and subsequently die. This triggers the next performance, giving me time to wear my accessories being the fish collar and oil apron.
Second was rebellion, I slowly rise back to life in conjunction with the music that is being played. Begin a struggle against the actor in the camo T-shirt representing the fight against governmental powers and their restriction on protest and collective action. I and another performer then make our way down the hall with newly roused vigor to free ourselves and those around us as we lead the audience to the next and final act. Back in the main hall, I work alongside other characters to free ourselves from the bosses that subjugate, winning our first battle but losing ultimately in the in the end, the cycle continues. It is a bleak ending but I am happy we decided to go in this direction, fighting against injustice is never straightforward the webs are complex and deeply intricate, it is not a simple fight and many people lose and lose their lives in the process but it is ever going and it is human. At least this is how I see it.
The performance was successful, I bumped my leg into something, and made mistakes in timing here and there but all in all an invaluable experience.
I am very happy with how this all turned out, the skills I’ve gained, the outfit and the performance. It has been a new world in art for me and opens up a space I would love to explore more in the future.
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Sketches for the event poster
I was asked if I would like to design the poster promoting the performance. I was glad to take this opportunity as through most of the making of this I barely hand the opportunity to draw.
My goal was to tell the story of the event, without giving too much away and yet representing each character.
I took images of every course mates, puppet and costume to use for the piece. I also used Pinterest to look up movie posters, especially horror posters, because the overall premise of the performance in a way is horrific.
I decided to centre the 2 worker characters, surrounded by forces much bigger and much larger than themselves. Incorporating the tentacle motif that was used in other costumes of course mates, I used it as a divider to separate each monster.
I stuck with greyscale, as exciting as making this was, I didn’t want to devote too much time to it and have it cut into my making. Overall everyone was happy with how this last minute piece turned out.