Early in the conceptual process for The Human Reliquary, I had made a simple mask out of a paint mask and glass jars. Transferring my vocalizations through contact microphone upon the glass surface rendered droning tones that I could sustain after learning to vocalize in particular ways. The replacement of standard uses of voice and methods of communication became a large interest to how I would approach creating. This first mask, Apparatus, was a stationary tool that tethered my face to my modular synthesizer and other audio technologies. At the time I was quite influenced by artist Tristan Shone of Author & Punisher (2016) and his industrial aesthetic custom voice masks. Three different pieces for different vocal effects were created by Shone and used in live and recorded performances. Apparatus had a similar visual style to the three industrial plastics and metals that Shone used, the main difference was that Shone had mounted his pieces to a stand so he might move from one to another while I immediately preferred strapping or mounting the mask to my head and face to augment myself and become a part of my instrument. At least in a sense, I connect physically with my instruments. I have considered several times how creating something to wear and perform with is to be connected with it. When doing so, I thought of Stelarc (2017) and specifically, the Third Hand and Third Ear. His interest in truly augmenting the body for his conceptual practice and performances was not only beyond the realm of possibilities, but not any real interest of mine. In regards to interface, I am interested in the tactile and the sensations of controlling touch, which I believe bolsters my decisions for the masks. To wear one is to carry a weight and experience the sensations of that piece while visually transforming into a being morphed with its technological communication devices.

Three masks were created for The Human Reliquary. Originally to be worn only by myself, two of the three pieces were eventually fitted to the two other performers in the final form of the piece. Each mask is a foam base taken from techniques popular in cosplay. Where the initial foam is cut and patterned together into a generic superhero helmet shape. Taking this form and extending parts to completely cover the head was the starting point for each mask, afterwards they turned into unique pieces once the frames for their communication devices were installed. Though after mounting frames into each foam base, a silicon layer was added to really develop the texture and image of muscles, skin, flesh upon these mutated heads. There was plenty of effort involved in the electronics and frames put into each mask, but the silicon proved to be the most experimental of the construction process. Luckily, the supplier I utilized for the silicon also provided wonderful tutorials in the standard qualities of the material. The final visual style of the masks was not directly influenced by any particular source, but it is interesting to think of how the use of silicon granted the abstracted mutated flesh that I desired while still approaching the layers of muscle and skin in a more realist manner. They are not realistic by any means, but the process of creating a convincing texture required myself to think about the actual construction of human flesh and how it may interact with these components rooted into it. Once coated in their flesh, the masks became interconnected in a narrative amongst themselves. A narrative bound in perpetual recurrence and connected beginning to end, end to beginning was submerged within the design of the masks. It seemed so perfect to finalize the project with three masks, three characters that could embody each of Said’s problematic episodes in life. And the change from linear individual performances to a combined composition led to represent my perpetual convoluted experiences of origin, continuity, and lateness. The character narrative’s origin resides in Recovery, the beginning of motion and continuity of the performance.