Exhibition: Part-I (Parangolés)

by Beauchamp Art

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Nicole Hudson’s Performance: Parangolés

Nicole’s Parangolés performance involved two participants facing one another and leaning back whilst holding alternate ends of loop of elasticated material that could support the weight of a person reclining at an acute angle. Along side this there were three sheets of paper on the near by walls which audience members could contribute too; diagrams on shapes and colour.
Some of the more straight-forward interactions simply involved the two figures following the instructions, starting and stoping when a beep sounded. However, some participants were more experimental in their use of the elastic, stretching over the centre of their bodies and head, facing away from each other, having four people facing different directions and so forth.

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Naturally I found myself implicated, and involved not just as a documentary photographer but as an active participant. I joined in rather simply following the instructions, and writing colours in felt tip on the paper. Though for one or two of m participations, I tried leaning on one leg, or with an arm behind my back, and so forth, all responding spontaneously and instinctively to the space, as everybody else was. For the images in which I am featured, Bryony Gifford and Nicole Hudson took the photographs using my camera, which I then edited, and shared with the rest of the group online, contributing to the collective pool of images.

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As I was going between this, and documenting Henry and Rebecca’s piece in the project space adjacent, I did not capture everything, and my images were a selective cross section featuring the widest range of people and contributions I could capture. However, as these were more just documentation and not stand-alone images (in content and intention) then I did not particularly experiment with the format, though I increased the blue-orange contrast in photos, to hint towards Nicole and Kelly’s collaborative use of these colours in their work (and in Nicole’s earrings, and Kelly’s trousers). However, as with Elizabeth’s performance, the contrast between natural and artificial lighting proved slightly problematic, so I had to increase the blue saturation on the figures beneath the lights when against the sky-lit wall, and reduce the contrasting tonality of the images somewhat.

Nevertheless, I believe these photos provide an effective documentation of the performance, and reflect the audience’s desire to be involved, even if there were some limits to the space surrounding the performance area, as well as the potential health-and-safety for the leaning individuals; although thankfully this did not prove problematic.

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(Photo by Bryony Gifford)