Exhibition at The Performance Space October 21-30, 2010.

Trashcan Dreams is a live installation project by Sarah Goffman in collaboration with Morita Yasuaki and Lina Ritchie of the Yanaka Group from Tokyo. As an artist whose practice embraces and transforms the detritus of consumer culture, Goffman will create an immersive environment for the interplay of repurposed materials and light with live physical presence and movement. Trashcan Dreams comprises a complex exchange of ephemeral visual languages, questioning both the human condition and our responsibilities to the wider culture and its environs.
Bec Dean
Associate Director The Performance Space

Friday, October 22, 2010


After 4 days of installation, my dream comes true.
Daily dances by Morita Yasuaki and Lina Ritchie. Some time around 2-3pm, maybe 3 hours, till 6pm, or perhaps for 5 hours, it all depends.
Incredible night, with so many thanks to so many wondrous people.

Monday, October 18, 2010

Action Station

First day of install...action taking place, I couldn't be happier than when things fit.

Thursday, October 14, 2010


The train station at Erskineville has some serious nature vandals in operation. Daily abuse, which I witness and am sad for. This lovely plant was decapitated at the height of it's short life.

On another note, I found this in an alley which made me so glad, I brought it home, to use as part of an ikebana piece.

Monday, October 4, 2010

Colour fields make me happy

Today I un-earthed a box I'd packed up long ago, with materials and objects from my Stone Villa residency, pre-Tokyo. I had forgotten that colour fields make me so happy, and this disparate variety formed a perfect amalgam that both matched each other, and wanted to 'play' in space. I remembered that that is what I am here for, as a conduit to allow these things to happen and to scatter and arrange objects sometimes pre-disposed to each other and sometimes objects that are in diametrical opposition to each other.
It is funny how much work is growing out of the period prior to my Tokyo residency, I suppose I had completed my residency at The Performance Space prior to that, so I was just following on with some of the thinking that had been initiated there.
In regard to the Yannaka dancers, I felt that we were on the same page in many of our discussions about the art forms. In particular I recall Morita choreographing me into a dance, where he brought 2 empty water bottles and asked that I position them in relation to the dancer's movement, whilst in progress. It seemed to embrace everything that I am involved in, site-specificity and relationships between the artificial environment and human intervention. In constructing the idea, he showed me a Vermeer print in a book where the composition of the landscape in the painting relied on 2 figures in the foreground. I understood and feel there is an implicit compository intuition that we all share, and that object placement reflects this idea in my work.
When we performed that piece, I felt like a chess player, reacting to each singular movement being activated.

Sunday, October 3, 2010

Letter from Morita


How are you. The exhibition will start in less than a month!
We met at YANAKA last winter. Thereafter we only are exchanging words, keep on making the work. It will become a form as Trashcan dream! It likes dream! I can not believe it!

I feel it is a miracle. How do you feel about it? What is it?
Just it is not about meeting. It is a miracle that we can keep on making a work although we are away. If meeting is important, it is very easy way. For example, you did a YOGA performance at SHIBUYA in TOKYO. Then you met many people. But it has disappeared at once. You can understand what I want to say. I don’t want to say anything about the influence of your performance. I think that parasitism is more important than meeting.

What is parasitism?
I will go Australia, and I will meet your works. And you will meet my works too. We understand each other, and put ones' efforts together. It is the Symbiosis.

I dislike Symbiosis! Why do I think like that? Because I think the symbiosis is reasonable. But it is innocent. Reasonable hide will. So I dislike!
Parasitism has innocent. It has will of exist. I want to do like the parasitism at your exhibition. I will inhabit there. I deprive your work of nourishment.
I will paraphrase your work to my words. I want to make influence strong.
I want to reach its critical point, if I can do it.

At that time, does your work die? Does are your works paraphrased by my words? I just don’t think. It shines when your work will approach to breaking. When your work is conscious of death, life radiates a more brilliant light than ever.

The difference is pointed up by to parasitism and to paraphrase.
I think about Parallelism. Parallelism seems the equilibrium of forces. It appears, when it will approach other existence.

Parallelism is born by to parasitism and to paraphrase.

By who, to whom will appear after the parasitism. But the symbiosis hides Whom and Who. You and me are mixed. So I dislike. I want to approach and break you. And I feel I can’t approach and break.

When I will approach Australia. But I don’ t want be mixed.
When a spectator approach our works. But he isn’t mixed. Maybe he will be parasitism, paraphrasing, parallelism. I want to experience it!.

It became long. It faces in Spring there! Here faced in Winter.
I will try to go opposite and I want to be parallelism.
Please wait there.

I hope your work is good, and you are happy!


My plan

〈 creation 〉 parasitism・・・state of relation with SARAH

〈 method 〉 micro・・・ply ( a unit of a day, or action)
        meso・・・stroll ( process of a day, or action)
        macro・・・transformation (target of exhibition)