Rubby Sucky Forge
The Place, 2020
Image of a person with their back to us. They are wearing an abstact garment with a red eye on the back and colourful leggings with dildos printed on them. They are holding a long, silver pole horizontally across their body.
Image of 2 people. They are wearing garments printed with images of faces, bodies, nails, dildos, hair etc. They are wearing face masks and shoe covers. They are both holding a long silver pole that come into contact in a cross shape.
Image of a person kneeling on the floor with an audience in the background. They are wearing printed clothing and holding a long silver pole at a diagonal angle. There are 2 other poles on the black floor nearby.
Image of 3 people with their back to us. They are all wearing colourful, printed clothing. They each hold up a long silver pole that come together in a cross shape. There is an audience in the background.
Image of a figure halfway up a long silver pole, holding on with their hands. Their knees are bent and their feet also touch the pole. The lighitng on the figure is red. There is a projection of a face to the left of the figure.
Image of a person lying on the floor holding a long silver pole above their face. The other end of the pole is held by an audience member. The lighting on the floor is green and there is a laptop and cables on the floor.
Image of a person with their back against a standing silver pole. Their knees are bent, their back is arched and their hands are above their head, holding onto the pole.
Image of a person in motion, holding a silver pole. They are wearing colourful collaged clothing and a face mask.
Rubby Sucky Forge takes the form of multiple atmospheres placed next to one another. A sort of circuit where a current is followed and tracked. Along the way things swell, and dissipate, and cross contaminate in transition.
The materials inhabiting these atmospheres are: metal bars, people, video collage, tank traps, printed fabric, sound, cigarette lighters, interaction, other invisible things like waves, imagination and drama.
I experience these materials in convergence, creating an ecology that prioritises feeling and transformation.
Changing the atmosphere of metal, melting textures of pain and indifference, sequences of conflict, intimately being with resentments and constructs. Thinking on a kind of psychedelic horror that can be caused from being in proximity to cold hardness (material or ideological), that anger or fear aren't bad things
The context for this work has become a mesh of the global pandemic and a painful transformative loss.
With love.
Photographs: Anne Tetzlaff
CREDITS
Choreography: Eve Stainton
Costume Designer: Sophie Ruth Donaldson
Sound: Beatrice Dillon