Resting Eye Monument(2016)
4 Hour Durational Performance, The Terminal Sales Building, 3rd flr, 1st ave, Seattle, Wa
May 1st, Sunday, during the May Day Protest, 2016
Twelve artists, three Prime Movers Jessa Carta, Jillayne Hunter, KB Thomas. The event was unadvertised, guests received invitations by mail. Forty-three guests attended.
Themes embedded in the work and it's process : understanding as the revelation of incomprehension, facades of civility, roles, fables, mythos, ceremony, animus mundi, digital image consumption, diachronic still image narratives, time as a circle, reconstruction of reality by group / individual transmutation, transiency, channeled arcane half-memories of other lives and concurrent realities, the further embodiment of a matriarchal shift.
Kodak Portra 400 Still Images, Digital Still Images and Polaroid Still Images by Jessa Carter, kb Thomason, Jillayne Hunter, Christopher Williams, and Sohail Fazluddin. VHS footage by Lucien Pellegrin.
Supporting Artists : Ria Leigh, Ari Leigh, Alan Sutherland, Michele Andrews, Azure Andrews, Sam Anderson, Lucien Pellegrin, Zachary Self, Jennifer Hotes, Hanna Yohannes, Connor Goulding, Isabella Du Graf, Aarin Wright, Olisa Enrico, Daniel Blue.
Documentation of Resting Eye Monument was designed and published by Companion Platform and showcased at the San Francisco Art Book Fair as a catalog of images and an aleatory index, documented once, twice, three times removed, from a performance that took place in The Terminal Sales Building in Seattle, WA, on May 1st, 2016 during the May Day Protests.
Edited by Jessa Carta, the unbound book of folded sheets comprises of images by Jessa Carta, kb Thomason, Jillayne Hunter, Christopher Williams, Lucien Pellegrin, and Sohail Fazluddin, with captions by Jenn Hotes and Kim Upstill. The images correspond to captions within the index, creating a delicate precarity in the pages remaining unbound… if disheveled both image and index will spiral into poetic abstraction. The title of the book is hidden and dispersed throughout the creases in the spine. Pages of the book have been used as wall coverings, wrapping paper, placemats, and eventually a score for further performances.