When thinking about ideas for a performance, I enjoyed the idea of physically performing the context of a certain piece of art that stood out to me. I had an instant connection with George Shaw’s Untitled (The Bed) piece due to the art being a recognisable image to what I have experienced before.  By possibly closing off an area of The Collection (where possible, preferably a quiet place away from the foyer) with the use of curtain rails, to produce a compact dark space for an exhibition which will convey the context and my own interpretation of Shaw’s work, ’The Bed’.

My first impression of the piece brought back memories of my great grandmother suffering with dementia and painful arthritis. Not only memories but smells, sounds and emotions; and with the use of images, props, sounds and a possible use of smell, I could enact my interpretation of the text with the inspiration of Shaw’s work.

 The piece would be site specific because the memories from a certain, sentimental time for me were relived in my mind by the work of Shaw. Therefore a memory is an exhibition itself for i will be presenting and reliving it, and by conveying my response to the artists work, this will allow the spectators to enter and experience a small aspect of my personal memory exhibition and have their own response.
To make clear, I would avoid exhibiting only the artists personal description of performativity, as I believe the most interesting and important part of viewing art is the endless interpretations they have on spectators, as Mike Pearson expresses in Theatre/Archeology, ‘Rooted in uncertainty, they all require acts of interpretation. And there is no end to what can be said about them, to how the might be interpreted.’ (Pearson et al, 2001, 56).