AKOSUA VIKTORIA ADU-SANYAH
Ongoing series of performative scans between ten and twenty minutes.
An automated scanning process is continuously producing pictures of me.
Questioning the relationship between inside/outside.
A reference to contemporary narcissistic Practices of permanent self-staging for an anonymous audience.
Turning out our insides, constantly. What remains?
I find myself in a dark room at night and use the reflective
glass surface of the scanner as a mirror, which continuously produces images of me. In the company of my Self I imitate typical postures,
supposedly self-absorbed and persist in them until
Effort mingles with boredom of the monotonous
movement of the light strip in front of my body. My body exhausts itself while
I constantly strive for posing correctly in front of the small limited area of this
coarse device. Unclothed, I look at the blemishes of my
The Ultimate provokes the tension between disgust and lust for oneself, between the persistently accompanying, unspeakable self-doubt
and the abstract love for fragments of oneself.
The rawness of the unprocessed color scans acts as a witnessing mirror, but contrasts with the almost painterly appearance
of the photographic pictures, resulting is an aesthetic distortion and abstraction of the self-portrait which we are surrounded and penetrated by today.
[LOVE FOR TECHNOLOGIES OF LOATHING]