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

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.

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