From 31/03/21 I have used Sweet Box to project Sweet Tooth B&W into for my exhibition proposal experimentation. I used a verity of angles and close up to get a feel for the maquette space as well as an installation itself. See the stills below from this session, I used the cellophane at this perspective to curve around the mouth, almost bringing the film out of the screen and into the space. – These images have a very similar appearance to the original projections in my studio which I am glad because I have been quite successful with the box becoming a space.

  • Does stills or film work best for this?

Reflection 02/04/21: In these images, the box feels large when the images are taken from inside, it’s like how I envision Kasuma’s installations, there actually really small rooms but the use of mirrors make them feel infinitive. This somehow seems to work for Sweet Box too, black = can’t see where the walls start/end and the large projection inside makes it feel larger than it is.

I wanted to incorporate this idea of censorship of images within this exhibition maquette – where an image online shares a warning message/almost covered up but you can still see parts of the image. This was a point brought up from my group crit 24/03/21 and an issue I discussed in my dissertation. I continued to channel his through the placement of the cellophane but using it as a suggestion. This plays with your curiosity as a viewer, feeling almost drawn to see what’s underneath. It seems with the Hollywood cinema they do this with the female form by playing to the eyes of the male gaze, showing almost everything of a women in a manner which glorifies and normalises this sexualisation. It impacts the female gazes’ self gaze with the way we think we should see ourselves. I feel with this visual of projection in a setting such as the cinema which both genders attend to watch movies, it involves everyone and doesn’t target men or women in particular. – This was a point Jane said to make aware. This piece is most effective virtually, where as if this exhibition was in a space, it may be better in the real. It must be both male and female viewers for the justification of the art work to be received otherwise I don’t think there will ever be a change.

Reflection 30/04/21: The term censorship has been mentioned within my print workshop – this idea of being able to slightly see but cannot see properly until a kinda of reveal. This is also present where the cellophane almost blocks parts of the image, but not enough so you can still see the film behind.

See films below. I placed the camera down and tilted it up to the screen, to begin with I didn’t mean to cut off some of the picture but I think it really played well where you can still see the film/what it is but also the space. – It has this appearance of trying not to look but you can’t help but look.

Is there aggression in this series? The physicality of chewing the breast, to the screwed up cellophane that’s draped across the mouth suggests this but is it intensified by being a small space? The darkness accentuates the harshness of what is happening in the actual film. I’m surprised I’d like working with monotone colours as previously it’s been about the brightest I can get the images/projection. It’s an interesting contrast to almost seriousness.

The use of no sound definitely works well and especially being projected in a space like this, plays up to the horror movie aspect which was previously mentioned in my group crit 24/03/21. The black walls adds to the emotion/eery-ness of the space. I also then played to that with the editing of the actual film making it the imagery of the breast being eaten/un-eaten on a continual repeat – this makes it feels dramatic in the sense you can’t take your eyes off incase it changes. This reminded me of Bruce Nauman’s Poke in the eye/ear/nose where he would leave it playing continuously and people would fail to see where the start/end point is. With Sweet Tooth Cinema Box View Point 3 I decided that there isn’t one. (I forgot to film this one landscape!)

I really enjoy this off centred view point, it is as though there’s different seats within the cinema and each viewer is getting a different perspective. The projection also cancels out all tone/shade and instead portrays the breast as an object/toy. With censorship comes this connection to pornography and the censored images/acts. The sexual objectification in pornography must be acknowledged especially here, reminding of old fashioned adult cinemas – adult movies “did play along a couple of social movements of their time, like feminism, with women being superior to men in poster depictions” (Savage Thrills) using women in a high patriarchal role as a material to draw attention/money to the movie and to be sexualised. This is something I aim to research further. With the film below, I held the camera instead of being place down, it has a unique connection to a gazing eye watching the film, as though it is how the artist wants the viewers to see it. This is something I learnt from Are You Watching? part of Congruous.

Reflection 30/04/21: Andrea Dworkin Pornography: Men possessing women (p199) “Men have created the group, the type, the concept, the epithet, the insult, the industry, the trade, the commodity, the reality fo women as whore” (Dworkin, 1981, p 200)

  • Using soft (relates to sensual-ness) fabric – Tony Oursler?

See behind the scenes below, the box is fairly large due to the size of the projection but I can’t make any smaller/increase focus. I really enjoyed this process, I felt my work jump forward a step by creating a physical space.


26/03/21 we had a session on our exhibition proposals, see initial notes from session below.

In relation to this module we have to create some installations or drawings/collages. I was really interested in creating both drawings, maquette and actual installations. Mike Kelley’s exploration of maquettes pushed me to create one as it’s more than unlikely I will be able to create a cinema installation room due to COVID. Kelley’s miniature Centre Pompidou is so detailed/life like you can really envision it, see below.

Reflection 26/05/21: I have really taken on Mike Kelley’s use of visioning a physical space except I have done this through multiple digital drawings/collage by visually placing the work in situ. It’s allowed me and my peers to understand my ideas I am unable to follow through with.

Mike Kelley, Centre Pompidou, 1995.

In this session we bounced ideas/envision how we would create our installations if possible or represent them. I aim to continue the exploration of mirrors, projections, cellophane, photography and film. As discussed with Catinca, small spaces and diverted eyes/gaze would be exciting in regards to the space as well as how to look/approach the art. The two initial ideas were:

  • A small box with holes which would contain the projection – kneel down to look, it interacts ideals of the gazers’ gaze. See digital drawing below.

Reflection 26/05/21: The image above explores similar issues resorting around the cinema to Valie Export’s Tap and Touch Cinema – female representation and the falseness that is explored on the cinema screen. It was interesting to see the way Export used her box as a physical part of the performance, allowing people to touch and feel her body/breasts to show the realism of the female form. The viewers viewing my box would have to bend down and look through, similar performative element involving the audience.


  • A larger box that would be open as a physical maquette appearance of a cinema – use to project into included cellophane draped and mirrors (?) see drawing below.

Reflection 30/04/21: The feedback from the imagery that come with this box was very effective. It gave the feeling of a small compact space in the image which is a present feeling in the cinema. I think this worked well in relation to building me up to projecting larger in the studio.

Reflection 28/04/21: A comment made by Jane reflecting on my feedback from my exhibition proposals seems as though I am exploring/creating a series of works for this exhibition proposal – effective. Allows the same work to have different perceptions/perspectives.

This session was very helpful as I had this in mind for a while but never got round to trying it. I drew the initial idea I wished to go ahead with in regards to creating (the larger box Sweet Box). My peers suggested it sounded like a theatre/cinema and to play off of this further. See developed digital drawing/collage below, I tired to have a clear path of what I wanted to do/achieve. I aim to display it as an actual cinema e.g. carpet floors/black walls and a white space for the projection in a cardboard box. – As the film Sweet Tooth B&W is becoming very eery, it feels this maquette will engross this idea further especially as it plays in a small enclosed space. My peers mentioned artist Olafur Eliasson to revisit as he works with transforming a space for his art to be in, like in Beauty below, the room became the water – this is what I aim to work with with cellophane/projection.

Olafur Eliasson, Beauty, 1993.

Reflection 07/04/21: The angling of the photography/filming in Sweet Box, of the space and work made the space feel like it could’ve been a room – this is what I wanted!

Reflection 19/05/21: I re-visited this drawing above and created an ideal situation which I don’t think I could create at uni with or with out COVID, it would be situated in a cinema space with large seats for the viewers to sit and watch. Could even be present in an actual cinematic space.

I want to use the box/space way above to capture low angles of the projection, like I did for Sweet Tooth B&W projected that I used for my group crit /03/21 – successful and gave the audience this feeling as though they were peering into something they shouldn’t/didn’t want to watch. So I decided to use a large cardboard box, see below, I worked with where the projection would sit, I cut off 1 and 1/2 sides to it to allow movement of the camera yet still enclosed enough and used gum strip to seal off any rips/cracks that any disrupt the projection or box presentation. I kept the projection running so I could mark out where the projection would project on the board – I painted this white so it acted as a cinema screen & for the projection to be bright/clear. I really enjoyed this.


I placed in a piece of grey carpet, it immediately gave a cinema vibe. I wanted to accentuate the use of angling the camera low and gazing up, as though you’re in the front seta at the cinema watching the glorification of women being consumed – to encourages emotions of discomfort and you could see this already with the camera angle, see below. This is more a in-depth maquette in regards to the content/context compared to the structure like Kelley’s physical detail. The white screen really sets off the cinema lay out.

I then use cellophane as it was part of my experimentation when projecting Sweet Tooth. I included the cellophane in the whole space, so you would have to move in and around it, almost creating this sweetie wrapper feel not only to the work but the space. See time lapse below of installing the cellophane (and final images further down) – this brought the maquette together (you can also see the size of the box in relation to me).

Reflection 07/04/21: After projecting into it the images give this immersive feel, the cellophane is so close to the camera its as though you’re in it. – suggests ideas of horror films/suffocation?? Too much?

19/05/21: Kieran mentioned this space makes the film projected in feel intimate and personal.


Before going to uni to work on the Riso machine, I had researched The People of Riso and came across Lol Gallimore’s Ink Spill, see below. The pink pink and yellow caught my eye, “Lol aimed to create a sense of fluidity and movement in her prints using simple ink overlays with varying depth and contrast” (People of Print, 2019), after seeing this piece I realised its all int he editing prior to the pint, the use of Gallimore’s editing has considered different areas that may be darker than others, where to allow bold yellow/palest colour through and the layers of the colours themselves. Placing the prints in the machine multiple times per layer makes it bolder and more mixable with the other colours if repeatedly printed straight after.

Lol Gallimore, Ink Spill, 2019.

“Gallimore’s latest project explores fluidity and depth inspired by the patterns in oil spills” (People of Print, 2019), you can see the inspiration of ink spills within her work, though they feel more digital than real life fluid, they still have this movement to them which seems to be accentuated by the use of layers and colour. “Gallimore loves to experiment with beautifully made papers, how the colours and textures overlap and bounce off of one another, how the ink sits on the paper, all the way to what technique will be used to bind the spine” (People of Print, 2019), this quote made me realise there maybe more to use of different papers, inks, colours and the formation, so I wanted to start.


In our print session 17/03/21, we worked on photoshop to edit our images to envision how they would look like as a print – I trialed a cream background with a pink images on top. I was hard to know which kind of pink to use without trying the printer first. From this I got to understand the colours of the inks may change due to over lapping.

Reflection 30/03/21: I won’t be working this way again e.g. the planning of the colours digitally, its no where near as exciting as the actual print – I prefer the unknown!!


22/03/21 I went into uni and booked a 1-1 with Glen to show me how to use the print machine. He took me through the steps of the machine and the colouration with showing me some examples. I had already printed out my edited images of To Bite and the gradient background to use within the print, see below. I wanted the first experimentation to be fairly straight forward, using pink and yellow. – I was amazed at its brightness and its blend of inks together. I felt inspired by Galliomore’s Ink Spill and its blend/layering.

These above are where I am working with my current practice, I wanted to explore them in a different way to projection. These first prints below were very pale and slightly fuzzy but once the machine warmed up, they became detailed and bright, see below. This was such an exciting and quick process which pushed my use of bold colouration (like from Are You Watching?) into a new format. The prints gave the film stills that extra sweet like feel like projection did, but in a more intense way as currently I’m working with black and white in projection, Sweet Tooth B&W, it was good to work in a new material in a more concentrated and minimal format. I liked the control of ink and that these prints were tied to a tight box as with projection you can’t help the image from bursting across the room.

Reflection 20/04/21: After experimenting with Sweet Tooth B&W imagery in my current print, I prefer the look of To Bite above and aim to use it again. It’s more recognisable as to what the image is – breast in mouth, where as Sweet Tooth B&W was too dark and confusing.

I began to experiment with different papers and see which ones work in the machine well and with the ink. I really enjoyed the outcome on white/cream paper. It’s here where I learnt to centralise the two colours to almost pasted in a box together, I play with this and under aligned the two layers to create a pink/yellow shadow in image 2. I also sent this print through the machine twice to see how it would appeared in reference to Gallimore’s and the change of intensity was great, gave the Riso inks more depth – so bright/eye catching.

I did learn that a paper arm can effect the print and smudge the ink.. A bit annoying!

  • !!! I aim to also experiment with their display e.g. placement/layout.

I really enjoy the photography in the sun/sunset – warms up the paper/colours.

Reflection 04/05/21: Even though this print was my first ever attempt, I think it’s one of my strongest and I aim to explore a similar outlook of the second completed print which carries ideas of censorship – using a similar black line surrounding the image, creating a box, to make it appear finalised and in line with the other print.


It wasn’t till I began to create did I realise that different papered textures effect the way the ink sits, the ridges from the brown paper almost broke up the dots from the bitmap into collums, see below, this isn’t nesicarily a bad thing, they play to the depth of the image. There was also two different sides to the brown paper one with a shine and one with out. I printed on both sides but I loved the shine, especially in the sun see below, it continues the element of glorification of consumption of the female form which I am currently working with in my practice.

I felt with the cream/white paper it worked most effectively for the use of colour, as Gallimore uses in her prints they allow the colour to stand out and project the movement/fluidity. When it came to trialing coloured paper I wasn’t sure how I’d like them. The imagery/colours are almost lost in the pink and orange paper, but I quite like this – this was an idea I initially has before making. In some ways they accentuated the pinks depth. The blue was very unsuccessful in the blue, appeared patchy and altered the colours to a weird tone, would the blue be better if it trialed it with blue ink? Different shades of blue paper too? One thing I learnt from trialing with coloured paper is that the machine didn’t like the thinness of it that much, it seemed to get stuck and cause the foot of the printer to press down and ruin the paper/original print. See below where the ink has stretched.


After this session in total I printed 38 prints, working with different coloured paper, textures and layers, I love how they’re all different and enjoyed this process. Ideas I have after this first trial:

  • Different imagery – work with drawings, actual images rather than just bitmap (may help mix up the texture within the print), images from Are You Watching? – this will help me find an area of work that will fit with my peers as we make our group print portfolio!
  • Coloured paper – find better quality paper with different tones (pastel colours will help the ink stand out), paper/card?
  • Composition – all layers don’t have be level, work with aligned or unaligned works together and a variety of sizes.
  • Inclusion of text/collage as one layer???

Reflection 21/04/21: I have recently begun to use text from Dworkin’s Pornography: Men Possessing Women within the prints I think these work great. It adds more depth/understanding to the image. I am currently trialing layering and colour, as I don’t want the text to dominate the image.


Group crit 24/03/21: I put forward Sweet Tooth B&W Projection, Sweet Tooth B&W Reflection and Sweet Tooth Film Still X3, see below. I wanted to get different perspective on different mediums, compositions, lay outs, angles of how I work/project my films. VERY successful. See my initial notes of the crit feedback further below.

Reflection 21/04/21: This group crit gave me confidence in my projection and work, I felt they were successful but the crit confirmed it form people who weren’t so involved in it. I had continued this emphasis on the cellophane, monochrome and the uncomfortable feeling – trying to deepen this further.

My class discussed the disturbing feel the film gave of the frame being up close to the mouth, was hard to sit and watch a breast being eaten so close up. It was mentioned by Susan that the black and white was just as strong/intriuging as my coloured films/slightly stronger? I was glad to see this as the B&W films/images are completely new. Even though the film is striped from its colour, the “lusciousness is still there without the colour, I derived the lusciousness from another approach” – definitely a path to continue to follow.

My peers said the cellophane suggests the packaging of sweet wrappers, women being wrapped like a treat, a clear message of  sexual objectification. The use of the cellophane on the projection wrapped like a sweet forces the projection to become a 3D/sculpture, more than a projection, adds to the space/work of a candy/breast wrapped in plastic/objectified as a treat. A clear visual for the metaphor of consuming, women being consumed, reflects what is happening in the world still to day! Also feels quite political/makes you question/really think about the sexual objectification women face – I guess it is political, its a battle women feel they struggle against sexualisation/objectification all the time. – Look at current times of anti Asian hate where they’re trying too fight the stigma of sexualising.

Reflection 27/03/21: I have looked at Sarah Everard’s case and relating it to my work made it feel more real, almost putting faces to the women being objectified/abused by male dominance. Researching the current moment of anti Asian hate may intensify this further. Almost makes it feel more upsetting/disturbing.

Reflection 30/04/21: I am unsure how I feel about my work being identified with male violence after regarding my 1-1 with Gary – all about different perspective.


Depersonalisation of the male too, not just the women. I have reduced the male down to an object as well – mouth/beard, women – breast. They have no identity, but are still clearly gendered allowing the viewers to register the simple message of male dominance/objectification. Tony Oursler was mentioned in relation to the isolation of the mouth.

Reflection 26/05/21: Srin mentioned in a recent group crit, that there is a confusion/graduation of who’s gaze is at play here. Swaps from the males POV to the females POV as the breast is chewed, and then changes when its back at the start.

The simple film of the projection may have been more successful than the film of the reflection. – It becomes more impactful viewing it straight on/a cinematic presence! I was so excited to hear these theories/thoughts were reading exactly how I wanted them to through the audience. It was also mentioned they create an old fashioned film like image (!!) its great that this has been portrayed right, interestingly my peers said it also looks like an old fashioned ‘forbidden’ film you shouldn’t be seeing, works well with the feedback ideas of censorship below. This was a new angle and would be interesting to follow through as in a 1-1 with Jane (12/03/21), we discussed the use of researching more pornography and the use/display of women as object of pleasure, may play to the imagery of disturbance/intensity.

B&W film works well with no sound, feels dramatic and sharpens up the images and drives attention to the actions in the film. As there’s no colour of the breasts/mouth available, a peer said it eliminates the race aspect and makes it less complicated/more inclusive. The use of B&W portrays the visual message for what it is, in front of you in black and white/straight forward message – women are consumed/displayed as objects. There’s no room to guess, this is what I wanted! As well as this, B&W suggests the lay out/colouration of horror films e.g. a young beautiful woman being killed by a dominant man, it adds to the aggression of the act of biting/on edge.


Cellophane, in Sweet Tooth Film Still (wrapper) my peers suggested it feels like a censored image. Reflection 29/03/21: This was an area I discussed in my dissertation – the censorship of social media, warning you there may be a disturbing/sexual image underneath before you see it. Or, suggests a cover up what is underneath, you can look but you can’t quite see. Only makes people want to see it more – relates to the cinema and their glorification of sexualising women. 

The quick comparison of Reflection and Projection – are they are the same film? Reflection is a flipped upside down and alters the view of abstraction and confusion. Sweet Tooth B&W Reflection, my peers mentioned the mirror as it gave an oblique angle, different to what you normally see, making it hard to identify. It gave thoughts of voyeurism, looking into something intimate you shouldn’t be seeing, or ideas of watching something at the cinema that you’re scared to see straight on, looking at it from a safer space. No direct contact with eye/object. Peep hole?

Reflection 27/03/21: Made me think of projecting on the floor/ceiling/corners of the room – adds to horror like element of something as scary as male domination over the female body. Projected in corner of a room like a scary monster you think you see when you’re younger. Will it make my work sinister, dark?

The display of the film is looped, forcing all viewers to continually watch, he never stops eating, made my peers feel sick after a while and almost wanted it to stop. – Why is there no pleasure now? Consider ways to loop it better, does the mouth ever stop chewing? Or does the breast continually get placed in the mouth? Is there an end? – No end would relate to how women feel under consumption.

Reflection 29/03/21: Referring to my dissertation/research of Maclean’s Make Me Up is almost sickly sweet, watching too much makes you want to stop and this is reflected in the display of Sweet Tooth B&W. They carry similar elements which I want to accentuate – where it’s almost too much.


Analysing the performance of the mouth. When you’re young you’re told to eat with your mouth closed, you grow up to do this so by seeing a mouth chewing open now puts us on edge, in disgust and uncomfortable. Is the male eating with his mouth open on purpose, to show what’s in his mouth (breast). The male does it with ease, as though he does it all the time/greedy/look at me/showing off at how he consume women. – Sadistic pleasure in eating, it feels mean spirited but almost looks pleasurable??? – Interesting element form the group crit, peers said they feel they want some of the candy breast … Interesting conflict from scary/off putting? A comment was made that after a while the breast looked like a lump of fat and not candy, changes to aura of the film a lot weirder. The darkness of the film feels a lot scarier and isolating as the mouth and breast looses their identity. The breast of icing was said to have imagery of the nipple as an eye watching back at the viewer watching you watch.

Reflection 26/05/21: I have now manipulated this film so it loops seamlessly when projected so there is almost no end, ever. Becomes uncomfortable and many peers have said many times they feel as though they miss something if they look away. Compelling and continuous.


Bruce Nauman is an American Conceptual artist and works a lot with performance, neon lights and film. These are also the materials I have been known to work with. He approaches this materials very differently and I am mostly interested in his performances pieces, this was a name given by Jane in my 1-1 12/03/21, in response to my recent films To Bite, Just a Nibble or Two etc, to look at the way he changes the film once its been recorded and how this impacts the viewing and its portrayal. In Poke in the eye/nose/ear below, Nauman focuses the attention on the in and out focus of the camera, meaning “your attention moves around quite a bit” (Art21, 2013) as almost there’s too much to take in.

Reflection 28/04/21: I used this approach with Sweet Tooth B&W because this is how I want it to feel when you watch Sweet Tooth B&W in a space – very consuming/immersive. Because the mouth is continually moving and is projected so large, it almost is so busy to keep your eyes on the two moving mouths. Quite stressful but this is what I want, the viewers to experience this stress like women under male domination.

Wtih the focus editing comes time. He slows his films down quite a lot, see above, as “things happen slowly enough it becomes almost like a landscape, just watching the slow frame by frame change” (Art21, 2013), you can see a slight gutter in the film from where its been slowed down so much, it adds to the impact of the performance. The slowed time also gives you the to view the frames and “to see things you couldn’t see otherwise, making you watch the formal part of it” (Art21, 2013). See the eye poking section below, the slowed down approach, is what makes it feel like the act of poking is being drawn out to disturb the viewers as soon as the finger touches pokes the eye you expect it to stop, but it keeps going, it feel gruesome in a way it becomes unbearable to watch because it’s a strange act on its own, without the slowed down view. I really intrigued by the poke in the eye the most, I feel like its the most unusual, “it forces the viewer to watch an uncomfortable situation” (Pena, 2014) and this is an element I want to work with when editing my films further, could be quite impactful in regards to how the audience may feel after watching.

Reflection 21/04/21: The slowness of a projection works so well for experimentation in the studio as part of the exhibition proposal. I feel the slowness is more beneficial in person as you are in the space with it, where as for this as we are unable to have a physical exhibition, it has to be digital and I think the slowness of the film gets almost lost in documentation.

  • Some people experiences phobias with eyes and poking, called Aichmophobia. Poke in eye/nose/ear could almost be trigger for someone, making it quite a dangerous film in a way as it could really upset someone.

Bruce Nauman, Poke in the eye/nose/ear, 1994.

Reflection 25/03/21: After my group crit yesterday, 24/03/21 I put forward Sweet Tooth B&W and edited this a similar way to Nauman but included points of slow motion instead. I looped it and my peers and tutors said after a while they felt slightly sick as it’s a disturbing concept of a breasts being eaten and your forced to watch it in slow motion, a similar approach to how Nauman has potentially worked with a phobia of eye poking to disgust viewers, as well as a finger in the nose and ear.


The staring at the screen feels like he is watching you watch him, this introduces ideas of the reversible gaze, even though Nauman in the film cannot see you, it holds this feel that he’s watching you watch him as the “viewer’s gaze moves around the screen at various points in the video” (Pena, 2014). I feel the staring almost distracts you as you almost forget what’s going to happen, even though you already know due to the title but when he pokes his eye I felt surprised and immediately weird watching. Nauman states its “more painful for the viewer than it was for me” (Art21, 2013), there’s this off putting sense of not wanting to watch but not being able to look away – this is a reaction I have with To Bite and I aim to create this feeling more intensely as I grow the film further.

Reflection 25/03/21: From the group crit 24/03/21 I was successful in the sense of the viewers sign unable to stop watching and questioning what else is going to happen even though nothing does. It holds people to the point they feel sick/weird similar to Nauman, in my response.


Poke in eye/nose/ear plays on all levels of disgust as a child you’re told not to pick your nose, but Nauman has a zoomed in an approach, forcing viewers to watch the act – the same with my film To Bite. You’re told as a child to close your mouth but in this film the male munches aggressively with the mouth open wide. Its actions like these that we’re not used to seeing, is what makes us uncomfortable. It is also the reaction “an enormous partial shot of Nauman’s head moves in slowed response to auto-violent acts” (Heathcote, 1998) where you can see the impact the act has had. There’s no noise at all with the film so it makes the work feel a lot more destructive and eery. “This retrospective is his ever-increasing desire to explore ways in which performance can both conceal and reveal the self – a self that is increasingly dark and cerebrally sado-masochistic.” (Heathcote, 1998) a self that people chose to ignore and possible hide from, he puts it on display, whether it has noise or not.

Reflection 25/03/21: I decided to use this aspect within my own work of Sweet Tooth B&W to use no sound, because there’s nothing to be heard, it almost makes the visual of it more aggressive, just like Nauman’s Poke in the eye/nose/ear, feels harmful. A peer said its like your other senses become heightened so while you’re watching you feel immersed into it further – you’d think sound would do this!