Relations between the human Body and the body of the Graving Docks
Through Glasgow the Puppet I explored the connection between the human body and the body of the landscape. Building on Posthumanist and New Materialist philosophies, the human body can be seen as a porous assemblage, effected and influenced by natureculture. Glasgow the puppet is therefore a play with the blurring of the human and nonhuman, an ambiguous exploration in which the body becomes entangled with the landscape and where various materials can express their vibrancy towards the shapes and forms of the human organs.
Through the scenes acted out bellow, I would like to draw attention to the vibrancy and vitality of the Govan Graving Docks.
“To walk among a clutter of multiple objects and fragments is to move within a material environment which continually engages bodies, distracting and repulsing us, attracting us to unfamiliar textures or peculiar shapes, coercing us to stoop and bend to make a path around and through stuff. As Gay Hawkins and Stephen Muecke assert, this sort of “waste,” this rejected and neglected matter, “can touch the most visceral registers of the self – it can trigger responses and affects that remind us of the body’s intensities and multiplicities” (Tim Edensor, Sensing the Ruin)
Experiencing the Graving Docks is not hazard free and unlike the regulated and safeguarded streets of the rest of the city, derelict lands challenges the ways in which our bodies move through and interact with spaces.
Working in collaboration with the Govan Graving Docks for an entire year allowed me to experience this place in all four seasons and to meet with the multiplicity which makes up the body of the Docks through direct material engagement.