The World is Trans (excerpt), 2017, single channel video loop, 7:32min
This piece was conceptualised during a two-day period of nonverbal observation, throughout which the artist cultivated the perspective that material culture is evidence of a pathological society. The transformation of non-human entities (plants, animals and mineral and oil deposits) is normalised to meet human desire. Trees become chairs, floorboards and magazines. Paradoxically, when a transgender human transforms their own body they carry the weight of a history of pathological diagnosis from medical industries worldwide.
The artist sings a small improvised nonlinguistic prayer to everyday objects, a symbolic act that acknowledges their nonconsensual position in the wake of human decisions. Such behaviour creates a sense of peace and connection, but from a wider social perspective is considered strange and detached from social reality.
The World is Trans, 2017, installation documentation as part of Convergent Pathologies, Incinerator Gallery, Melbourne, 2017. Photograph credit: Lucia Rossi