Lustrum (2024)

Lustrum exists in dual forms, both as an instrument and as a somatic activation. The piece bears the deconstructed pentangle-come-cross in reference to Gawain’s shield, the breakages in the links are representative of the fragility of the ‘endless knot'. The knot signifies the cyclic and restorative nature of time on place, the performers embody the position of the mortal bystander in this sequence of rejuvenation. The performance mirrors the sonic activation demonstrated in the parallel film work, toying with the instrumental and sculptural potentialities of space. 

By-Flete and Lustrum, much like their representation of artist’s bodies and landscape, are tethered visually, sonically and performatively. The audience is met with the simultaneous presence of the artist’s both past and present, via the concurrent placement of live and recorded performance. As the instrument is activated the soundings interact further with the sonic residue of the disjointed soundscape accompanying By-Flete, which subsequently temporally melds the works into a singular composition. Though conceived via an antiquarian brief the work embodies principles of super-modernity in its manifestation of the characteristics of the transience of Augé’s ‘non-place’.

The amalgamation of By- Flete and Lustrum is conducive of a space of movement and consumption without a strong identity or connection to anywhere or anything in particular.

Below: Performance Stills by Benjamin Nuttall

Bass Strings, Metal Pick-Up, Machine Heads, Effects Pedals, Wood, Metal Bowls,

The Williamson Art Gallery and Musuem, Wirral Borough of Culture 2024