Husk
John David O'Brien, Toti O'Brien, Steve Roden - Barnsdall Hall, Los Angeles - Gubbio, Palazzo Ducale - 1998
O'Brien, O'Brien and Roden performance Husk derives its name from the desire to mark off territories corresponding to the relationship between outward appearances (he eco-skeleton or husk) and the protected inner body. This kind of disjunction has provided the formal basis for allegory for centuries. Like animals that are given human characteristics and utilized in an allegorical capacity, Husk's characters evolve as a fusion of animal/object/person/sound. These characters evolve through a process of translations - from an imagined aquarium and its denizens. Husk is constructed, encrusted, scraped away and re-encrusted.
During the course of the exhibition Husk is evidenced by an architectural installation that facilitates the performance. The structure is Y shaped - costumes and puppets are evident - and constructed as an open framework so that it is transparent to the viewer. From and back are confused in a way the reveals, or discloses the illusion and artifice of the performance (Noel Korten and Ruth Weisberg)
John David O'Brien, Toti O'Brien, Steve Roden - Barnsdall Hall, Los Angeles - Gubbio, Palazzo Ducale - 1998
O'Brien, O'Brien and Roden performance Husk derives its name from the desire to mark off territories corresponding to the relationship between outward appearances (he eco-skeleton or husk) and the protected inner body. This kind of disjunction has provided the formal basis for allegory for centuries. Like animals that are given human characteristics and utilized in an allegorical capacity, Husk's characters evolve as a fusion of animal/object/person/sound. These characters evolve through a process of translations - from an imagined aquarium and its denizens. Husk is constructed, encrusted, scraped away and re-encrusted.
During the course of the exhibition Husk is evidenced by an architectural installation that facilitates the performance. The structure is Y shaped - costumes and puppets are evident - and constructed as an open framework so that it is transparent to the viewer. From and back are confused in a way the reveals, or discloses the illusion and artifice of the performance (Noel Korten and Ruth Weisberg)