Patience and Solitude

bluetooth keyboard
double ply seesaw
vacuum up the egg
with the leftover pegs
put it in a pot plant
triple ace sock pants
and whisk them all together
in a game of

Patience and Solitude (1) proposes a personal and collective sense of losing control and grip on reality, a conflation of mounting personal anxieties and global crises, confined to the top of a coffee table.

Ordinary objects are markers of identity and storage devices of memories, that make up the democratic and familiar visual language of the everyday, articulating the realities we’ve constructed, anchoring the narrative to a particular time and place.

Pandemic lockdowns have provided a magnified study of the absurdity of everyday life in general.

Confined to domestic spaces, we feverishly repeat habitual routines, express frustration, longing, love, hope and embrace unusual makeshift coping mechanisms.

Mundane repetition and a semblance of order continue,
as globally, shit unravels in epic proportions at an alarming rate, within a universe dancing to unknown laws of physics.

Contemporary philosopher Thomas Nagel believes absurdity itself resides in the human ability to step back, appreciate the absurdity of existence, and then carry on with the repeated banalities of everyday life, regardless.

A micro to macro conflation of seriousness and humour, purpose and meaninglessness, order and chaos.

Patience and Solitude playfully touches on themes of repetition and pattern, existentialism, excesses of mass consumption, perception, fragility and constant states of change.

It enacts the elusive complexity of the everyday, by inviting connections and valuing ambiguity and indeterminacy as ends in their own right.

Gertrude Street Projection Festival, 2022 (Photography by Astrid Mulder)

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