THE NAMELESS BOY WHO GAVE HIS NAME TO SUNDAY
The Nameless Boy who gave his name to Sunday is a collection of photographs and sculptures which focus on a single subject dawning or interacting with sculptural objects amidst a blanket of neutral colour. The sculptures interact with the ‘feeling space’ through their materiality, through their object-ness; the photographs exhibit how these sculptural tools communicate with an other-space, a place of spiritual and unconscious inquiry.
Having been raised in a religious home, I often questioned how our religion spoke of the incorrectness of others, and the righteousness of our practices. An evident, unnatural line was drawn. The Nameless Boy who gave his name to Sunday questions the prescribed distinctions applied by contemporary and ancient religions with a goal of creating a space to discuss common and universal spirituality among diverse religious and spiritual practices.
The Nameless Boy who gave his name to Sunday contemplates what is means to be a spiritual being, both individually and as a community. The quasi-narrative photographs connect to an other-space, weaving a tapestry of relationships built through historical, contemporary and fictitious symbolisms. These strings infer a deeper connection, into a place of the unconscious, a place of emotion, a place of spirituality.
