Under the guise of "double agent"—defined as having a day job (as the Bookings Coordinator at a luxury car dealership)—that feeds into my art, my practice investigates how shared spaces are becoming sites for communal isolation. Informed by Franco “Bifo” Berardi’s writing, my practice considers the implications of championing artistic spirit into the work environment, in an attempt to overturn the dominant corporate language, and the power attributed to it. In my workplace, the drive for profit is used to shape our cultural environment, and our relationships with one another. I attempt to re-shape the workplace into a micro-utopic community through “the big, romantic gesture of art,” employing public intervention, performance, sculpture, text, and video made in collaboration and discussion with my colleagues, as points of departure to activate our public spaces. Over the past year, my position as Bookings Coordinator has been re- configured to include "Official Artist in Residence." The philosophies and practices that form the central tenets of my research stem from my Hindu, Fijian-Indian mother.
A light aircraft tows a banner across the sky which reads SPECTACULAR, against a soundtrack of banal audio.
Elisabeth Pointon and Dr. Gwyn Easterbrook-Smith scrutinise unpaid performative and emotional labour undertaken by femmes in the workplace.
A waving car yard air-dancer named Crystal in a car sales yard is paired with an adapted family meditation.