The Diaspora Chant

For this installation Gino painted 100 heads in the watercolour medium Indian ink attaching each to the wall using roofing nails. Roofing nails because they are used to strike into hard and tough surfaces such as concrete, they are incredibly versatile allowing them to be used for different types of construction without snapping, bending or breaking. the nails are a symbol of The Diaspora constructing a new life. He then recorded the fluttering and waving of the paper panels and the vocal interactions of the visitors to the exhibition to create a chant. The chant represents the perception and the cracks between the stories told and the silence of the unheard stories of each of the 100 watercolour heads. In the presence of the viewer.

State of Authority

Towers are symbols for State power, built on fear, rule and regulation, used to contain those who pose a threat to security. Actions taken whether agreeable or not are usually hidden under the umbrella of national security. If an individual is caught "between the cracks"  isolation from the sovereign state usually ensues. This happens frequently especially during conflicts leaving the individual powerless, isolated and stateless with no recourse to the rule of law. 

A state of "Bare Life" becomes the norm for the isolated and the hidden censored security net for society.

Disasters of War

Goya expressed so eloquently the truth about the  "Disasters of War" showing man's inhumanity to man. Since then politicians and power seekers from all corners of the earth claim war is manageable, protecting the innocent is key and designer laws are in place to do that.

Yet we clearly see nothing has changed, except the resident numbness and acceptance we feel when confronted with the daily pictures in the public domain and the diverse communication mediums. The projected information  is pivoted to accommodate the angle of bias and propaganda each side portrays. The political society or government perspective usually sanitising their role in war through blame without responsibility, reflecting the depravity of war committed by opposing sides, declaring their own actions "Just". Though caught in the same mirror, how people can be persuaded to see a reflection of truth is key. These reflections become psychological towers of persuasion for "Power", "Control" or "Money" and have very little to do with truth and are more to do with palatable decorative effect but more to do with propaganda. 

For this installation Gino nailed each of the 48 panels to the wall using forged iron nails to symbolise the gap between reality and truth, as they are often used for decorative effect. Gino intended the multiple to be a conversation with Goya's Disasters of War, the Apocalypse and Bayeux tapestries. In the middle ages tapestries were usually hung on walls in the homes of the wealthy and powerful. Illusions for perceived grandeur, knowledge, status and power. (Gino hopes to have this installation made into a tapestry and looks to secure funding to do so in the future)

During the installation Gino invited visitors to respond to the installation Gino recorded the vocal interactions of the visitors to the exhibition to create "Cry"  a vocal piece to be played during the final days of the installation. The intention was to hear reflections on the inhuman actions carried out on humanity, through the medium of sound.