Lerato Shadi: Tlhogo 2011 For the performance Tlhogo, Shadi crocheted a cocoon from hand-spun wool of various origins. The red woollen sheath was created specifically to fit her body, with just enough space left open for her to enter it. The performance takes place on a plinth in the gallery. First the artist struggles into the woollen cover and closes up the entrance by crocheting it from the inside. For the rest of the duration of the performance, the swaddled body lies motionless on the plinth, a ‘living object’. At first glance the viewer is unable to tell that the ‘object’ is alive - only on close inspection does the movement of breathing become noticeable. The artist/performer changes position four times during the course of the evening, to relieve the body and to create a different sculptural image. Finally, she liberates herself from the woollen cover, leaving behind the crocheted ‘relic’.
Zoom Info
Lerato Shadi: Tlhogo 2011 For the performance Tlhogo, Shadi crocheted a cocoon from hand-spun wool of various origins. The red woollen sheath was created specifically to fit her body, with just enough space left open for her to enter it. The performance takes place on a plinth in the gallery. First the artist struggles into the woollen cover and closes up the entrance by crocheting it from the inside. For the rest of the duration of the performance, the swaddled body lies motionless on the plinth, a ‘living object’. At first glance the viewer is unable to tell that the ‘object’ is alive - only on close inspection does the movement of breathing become noticeable. The artist/performer changes position four times during the course of the evening, to relieve the body and to create a different sculptural image. Finally, she liberates herself from the woollen cover, leaving behind the crocheted ‘relic’.
Zoom Info

Lerato Shadi: Tlhogo 2011

For the performance Tlhogo, Shadi crocheted a cocoon from hand-spun wool of various origins. The red woollen sheath was created specifically to fit her body, with just enough space left open for her to enter it. The performance takes place on a plinth in the gallery. First the artist struggles into the woollen cover and closes up the entrance by crocheting it from the inside. For the rest of the duration of the performance, the swaddled body lies motionless on the plinth, a ‘living object’. At first glance the viewer is unable to tell that the ‘object’ is alive - only on close inspection does the movement of breathing become noticeable. The artist/performer changes position four times during the course of the evening, to relieve the body and to create a different sculptural image. Finally, she liberates herself from the woollen cover, leaving behind the crocheted ‘relic’.

Source: stevenson.info

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