Two hundred and six objects are assembled on a broken mirror board. Some of them belonged to the deceased, mainly collected in London from the street, river and markets: including metal parts, dead insects, bones and even a child’s tooth.
The head of a stuffed hare leads the board surrounded by diverse components unified to form a new entity, symbolising the components of someone’s existence. Even though the panel doesn’t hold the original mirror anymore this new arrangement can be considered the reflection of someone’s life. But this living is captured here in the moment just before death. The clock on the chest of the hare is stopped, symbolising that its time has come. Its eyes are covered though, unaware of what is coming.
Some of the keys on the composition can be seen as emotional locks to psychological corners, other elements allude to the passing of time and survival. By arranging the elements in a harmonious order we are allowing for energies to flow, easing the transition to another dimension, allowing for a peaceful death. There are eleven holes on the board, some covered by lenses and some bare, letting the light shine through and metaphorically serving as energetic doors to new possibilities or future lives. All the components intuitively selected and unified act as a bridge to the closure of a lifetime.
See Broken Mirror below exhibited as part of my solo exhibition Hinges (Trip Space projects); underneath it appears in Rivington Place, part of Shutterbug Festive Bizarre, in a collaborative performance with La Beti; and some pictures of the work in progress.