Mixed-media installation · Film
Blind Date
Blind Date begins from a plain proposition: once love is left out, a marriage is discussed as a deal, and financial condition becomes the sole judging standard. Research at a matchmaking corner and blind-dating market — where the criteria asked of men and of women diverge sharply — led to twelve life-size male figures and a staged ceremony around a single long table.
Format
Twelve life-size honeycomb-cardboard figures, staged installation, and film
Materials
Honeycomb cardboard, acrylic pigment, coloured chalk, oil pastel, ultralight clay, candle
Research
Fieldwork at a matchmaking corner and blind-dating market
Framework
Marriage as transaction, staged through the composition of The Last Supper
01
The criteria written on the body
At the matching corner, a prospective partner is advertised through salary, occupation, housing, age, and marital status — and the list is not the same one asked of men and of women. The twelve figures represent men in the dating market and wear those conditions on their surfaces: an apartment block, a white car, a window, a stack of banknotes, a divorce certificate.
02
A ceremony borrowed from The Last Supper
The figures are ranged left and right along one long table, with the artist seated at the centre as the person being matched. The arrangement quotes The Last Supper, where each of the twelve keeps a secret of their own — a structure the work reads back onto everyone seated at a blind date.
Complete project
Read the project in full
All 6 pages, grouped into chapters for web viewing.