Father, 2017 (30 hours)

In Father, the artist stages a confrontation with the dehumanising gaze of technocapitalism—an age where bodies are reduced to objects, data points, and consumable images. Over 30 hours, the performance becomes a ritual of resistance and reckoning.

At its centre stands a charred gold tower—once a symbol of power and dominance, now burned through the ancient Japanese technique of Shou Sugi Ban. Its blackened surface becomes a monument to collapse, to the inevitability of decay in the face of hubris.

The body, installed in the frame of a black box, is both medium and mirror. Dressed in a Janus-faced tribal helmet, fighter pilot gear layered over a morphsuit that erases all traces of human flesh, the figure transforms into a post-human sentinel—part oracle, part surveillance device. A golden gazing orb, cradled in their hands, reflects each viewer back to themselves: implicated, recorded, consumed.

Father is not a portrait, but a reckoning with power, exile, and the haunting future of embodiment. Here, performance becomes resistance—a ritual that mourns the loss of self while staging its spectral return.