The the ways in which one sees one’s own

The combination of a tactile visuality and textuality is standard, prevalent in performance art  practice, where a blind or veil tends to separate viewer and viewed. The use of the body nessisary to performance acts to thematically conceive the idea of  “being” and of experimenting with and creating new identities. The body confining to the state of being brings forward the questioning of what it feels like to be within a body, previously disused in seminar. The physical and outward appearance relative to the identity of the being is transcribed through the behaviours of self and communitas. The human body acts as an individual object that possess both singular and communal identities. The performative piece includes that of the body trapped within a skin like sheet transformative in shape movement and behaviours. The veil acts to distort and disrupt the body from the being while continuing to separate the relationship between spectator and the “being” of the performer. The outward skin of the body similar to that of a a snake sheds its skin, but emerges untransformed, a kind of living mask that remains unchanged while the beings within it change. Spectator and performer rely on implicit recognition of the human body in reference to, cultural assosiation, and religious values reinforced by a  collective memory of behaviour identity. The imagery of the body communicates religious ideas and moral values artistically through divisions of expression. “Analyzing the various interconnections of the human body with art and religion is the manner in which one comes to describe and understand the ways in which one sees one’s own image and in which other peoples see their own images”
The essence of being human especially with relation to divinity and cultural concepts of humanity must be transformed into substantive and convincing shapes, whether natural or abstract.