Fleshroom:Study for a room
(2004)
Fleshoom is developed by visual and
conceptual artist Vivian Marthell in
collaboration with choreographer/
dancer, Heather Maloney, composer
Alfredo Triff and filmmaker Joel
Richardson.
Fleshroom consists of sealing a dancer
within a small-enclosed space [a
manufactured 8 x 8 x 8 room] in which
the interior walls are lined with Caucasian
flesh colored rubber latex. An interior
live camera is mounted on the ceiling
and the live image of the dancer is
projected on the exterior surface of the
structure for the audience to observe.
Within the confined space, the dancer
interacts with the walls, floor and ceiling
by pulling, slapping and hanging from the
rubber latex “skin”. Simultaneously,
images created by filmmaker Joel
Richardson are projected into the
confined space representing an attempt
to assimilate incongruent information.
Sound is incorporated in a biphasic
manner through interior and exterior
emissions. Interior sound emissions will
originate from the dancer. Music from a
single musical instrument composed by
Alfredo Triff will emanate from small
speakers attached to the dancer which
will enable the dancer to distort the
sound with her body and movement.
She also wears a wireless microphone
that serves as a kind of bio-
instrumentation that will pick up the
sounds produced by her active presence
such as respiration, movement and
distorted sounds. These sounds are an
aural glimpse into workings of the psyche
as represented by the confined space of
the room. The second component, the
exterior sound emissions will be multi-
layered with no direct correlation to the
interior sounds. They will incorporate
non-musical sound, spoken words and
noise creating the effect of disjointed and
incongruent information and thoughts.
(2004)
Fleshoom is developed by visual and
conceptual artist Vivian Marthell in
collaboration with choreographer/
dancer, Heather Maloney, composer
Alfredo Triff and filmmaker Joel
Richardson.
Fleshroom consists of sealing a dancer
within a small-enclosed space [a
manufactured 8 x 8 x 8 room] in which
the interior walls are lined with Caucasian
flesh colored rubber latex. An interior
live camera is mounted on the ceiling
and the live image of the dancer is
projected on the exterior surface of the
structure for the audience to observe.
Within the confined space, the dancer
interacts with the walls, floor and ceiling
by pulling, slapping and hanging from the
rubber latex “skin”. Simultaneously,
images created by filmmaker Joel
Richardson are projected into the
confined space representing an attempt
to assimilate incongruent information.
Sound is incorporated in a biphasic
manner through interior and exterior
emissions. Interior sound emissions will
originate from the dancer. Music from a
single musical instrument composed by
Alfredo Triff will emanate from small
speakers attached to the dancer which
will enable the dancer to distort the
sound with her body and movement.
She also wears a wireless microphone
that serves as a kind of bio-
instrumentation that will pick up the
sounds produced by her active presence
such as respiration, movement and
distorted sounds. These sounds are an
aural glimpse into workings of the psyche
as represented by the confined space of
the room. The second component, the
exterior sound emissions will be multi-
layered with no direct correlation to the
interior sounds. They will incorporate
non-musical sound, spoken words and
noise creating the effect of disjointed and
incongruent information and thoughts.
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