SATURDAY 21 JULY 21.00–22.00
Eddie Peake: Amidst A Sea Of Flailing High Heels and Cooking Utensils, part 1
Eddie Peake created a new performance made especially for the new Tanks at Tate, in which body, sound and gesture were employed to dramatic effect. This, a performance devised in two parts for the Tanks at Tate Modern and for the second will be at the Chisenhale Gallery, London. Pursuing his exploration of the body’s potential as a sculptural and an erotic object, Peake asks the viewer to examine their own responses to the piece; how the language of music and movement are affecting their perception of what is taking place, and how they are implicated as voyeurs of this erotic spectacle.Working with bodies, movement and music, playfully exploring physical form in all its manifestations. Peake’s ‘bodies’ become both sculptural and sexual objects via choreographed actions, encouraging the audience to give in to voyeuristic desire.
About the artist:
Eddie Peake’s varied artistic vocabulary encompasses performance, video, photography, painting, sculpture and installation. Peake’s main focus lies in the lapses and voids inherent in the process of translating between verbal language and nonverbal modes of communication. It is in the discrepancy between words and any other language, say, images, emotions, bodily movements or sounds, that his art is located. Peake’s work is an often-energetic spectacle in which the absurd and the erotic each find a place, and in which the artist plays a central role.
While studying at the Royal Academy, Peake staged a naked five-a-side football match in Burlington Gardens where the two teams were differentiated only by their socks and trainers. As the work’s title suggests, Touch (2012) addressed the inherent tactility and homoerotic exhibitionism that comes with contact sports. For Peake, the work was “a joyous event”, but one that quickly became commonplace as the audience were habituated to the nudity of the players.
By playing with the ambiguities of sexuality and gender categorisation, Peake’s work conveys the fluid boundaries of identity. The artist expanded this investigation via the introduction of a new persona – a powerful faun as seen in his neon sculpture The Baddest Badman (2013) [seen below] – an alter-ego who will recur and evolve throughout his work.