Permanence is rarely associated with performance. The ephemeral action, set in the field of arts, seems to have no consequences nor traces in the future. The notion of risk appears to be evacuated from theater and performances. Body Art arrived in 1960s as a movement using the body as material, in a cultural era were many freedoms were gained. It was a movement appreciated by many feminists and they took a lot of riskx during their performances, which popularised a lot their movement.
«The body artists were a loose group - mostly categorized as a group by critics and art historians - which developed early within the Performance Art movement. The larger movement's main impetus was to evolve definitions of art to include situations in which time, space, the artist's presence, and the relationship between artist and viewer constituted an artwork. To the body artists, the artist's presence translated to an artist's physicality; not only did they need to personally fulfill a role in the presentation of an artwork, their own flesh and blood would become a key figure in the work as well.»
Engraving words and concepts in the flesh is was eating and art in my practice is what I do in my practice. Risk taking is essential.
I contacted the tattoo artist Cammy who work for Minuit Dix studio in Montreal with a description of my project: the meaningful concepts of Eat Art are luckily contained in its title. Camille works with the hand poke technique, a new experience for me, surprinsingly less painful than the tattoo machine.
The conversation during and beforehand the tattoo sessions, the sketches she did to prepare it, the waiver signing and committement and the walk to the ATM machoine to pay her were all engraved as strong memories for this Body Performance in which the actions were made on me, rather than by me.