aRmour as in amour, love, a state of heightened awareness, an emotion felt for others, a state of connection.
aRmour as in armor, a protective layer warn close to the body, a protective shield imitating the bodies of other organics, a scale like structure created to not be penetrated.
MUR as in murmur, a soft whispering, a multitude of voices, undistinguishable; MUR as in murmuration, a migration, a transit of birds grouped closely together creating patterns in the sky.
MUR for Murrha, Mirra, Myrrha… mother of Adonis, turned to Myrrh tree, transformation, metamorphose, mutation for the sake of protection.
This installation consists of multiple modules that make it adaptable to various locations.
[ ceramic ] [ sound ] [ performance ] [ video ]
The ceramics part consists of a contrast of a hot pink glazed ceramic body, that has been so sculpted that it can fit a performer, or be a stand alone exhibit piece, covered with smoke fired (Raku) ceramic pieces, scale like, miniature landscapes, the marks of the hands that sculpted them still visible. The fragility of the material reflecting the brittleness of the armor that we create around ourselves, the use of clay metaphorically as protective element, as it has been used in covering the cut wounds of trees to prevent infections.
The sound part of the installation consists of multiple soundtracks featuring collaborations from the LUNALIA cycle – nightly improvised poetic duo’s – and could be set up in an interactive way, where the public triggers the sound by its movement, creating an ever changing sound field of MURmur, a murMURation of voices.
A live performance interacting with the soundscape can be added to the installation, where one or more of the ceramic pieces is worn and interacts with the body of the performer.
Documentation showing how the ceramic aRmour can be worn and used can be added to the installation.