Waiting For The Salt
Mixed media, 2020
575 x 125 x 85 (cm)
Waiting For The Salt talks about the human condition by presenting a mixed media sculpture of a squid as a proxy to let viewers reflect on their perception of the human condition.
The work originates from a personal experience as one who advocates for animal care and welfare, yet highly enjoys consuming meat. I decided to present a work that showcases the contradiction of the human condition by incorporating the local context of ‘sotong’, a term commonly used for squid, as a delicacy and also comparing the animal’s condition to a human.
The squid is completed using silicone layered on top of PVC strip and painted. It is enlarged to represent a human and it is connected to various IV bags to represent the clinical theme in the work. The eyes of the enlarged squid is created using silicone and a disassembled casing of a pet’s backpack. The human performer that inserts the needle to cure the squid represents an attempt to cast emotions to an animal that is stigmatised as food rather than a pet.
The blue fluid that drips into the squid takes reference to the blood of horseshoe crab, a harvest that was meant for the benefits of humans. However, the fluid is replicated using blue pea flower, an ingredient commonly used in Peranakan cuisines.
Inspired by notions of absurdism, the work attempts to portray an absurd revolt against humans. As the title of the work suggests a variation of link to food seasoning, expectation for something to occur next, or humanizing a food. The use of various inconsistencies surrounding the work creates doubt in the human condition, leaving an indefinite answer for the viewers to decipher. Through Waiting For The Salt, the artist hope to promote discourse around human and nature.
Image of the performance by Lyu Pin where she did a simulation of treatment for squid. Close-up of the squid's eye made by a casing of a pet's backpack.