Jacob Watmore
- Enter.

- You find this shirt at a friend's house, or friend of a friend, whatever is a more likely situation to come across this shirt.

- It's hanging over this chair, like this, here, in this place.

- You're walking in front of the chair; you're finding the shirt familiar.

- Maybe you know whose shirt it is, maybe you don't.

- Notice the open packet of wine gums hanging out of the pocket.

- Start to weigh up if you're able to take one.

- Pull out the packet and judge how many are left.

- You may have decided whose shirt it is.

- Would whomever shirt it is notice or care if you take one?

- You should just take one.

- Take a wine gum.

- Carefully place the packet back in the shirt, as if they might not notice, or if they wouldn't care; you do it out of an absurd politeness.

- Walk away.

- Eat it on the sly.

- For the next few minutes you walk around with the taste in your mouth.

- You notice it in the background.

- Let the taste affect the world in front of you.

- Each thing you see as your walking around has this taste of the wine gum attached to it.

- Everything is this taste you currently taste.

Two characters: YOU and SOMEONE.

A room filled with art, it has a concrete floor, and within it sits bench with a plastic bag filled with grapes. On the bench sits SOMEONE.

SOMEONE: (eats a grape.)

YOU: (enter.)

YOU: (find yourself here.)

YOU: (stand near the bench with the plastic bag filled with grapes.)

YOU: (watch as someone takes a grape from the bag and eats it.)

YOU: (don't think it's their grapes; they look a little bit uneasy.)

SOMEONE: (glances at you to see if the grapes are yours.)

YOU: (walk up to the bench and see if someone responds.)

YOU: (should take a grape, someone might not care or notice, and they appear to have been left here.)
SOMEONE: (turns their head to itch the side of their face and proceeds to yawn.)

YOU: (sneak a grape and leave to ponder the works nearby.)

SOMEONE: (takes another grape.)

YOU: (are tempted to go back and take another, if someone can get away with it, why don't you.)

YOU: (just have to be careful to not get caught by someone; it might be art after all.)

YOU: (take another grape.)

YOU: (go stand and look at the tv screen, eating a grape.)

SOMEONE: (may notice you eating a grape.)

YOU: (move closer to the screen; make it look like you are really enjoying it.)

YOU: (ignore the grape in your mouth.)

YOU: (should go sit on the bench for a while. You will become someone.)
You're reading a statement about the work of Jacob Watmore. You're being placed into a situation where the artist is playing with fiction and reality through the use of language.

The objects around you are evidence to a possible fiction that you may take part in, asking you to pretend with the work, a potential event. These objects aim to be placed in a method of creating something that might already exist, an orchestrated situation that mimics the everyday use of objects to provide evidence of a possible fiction.

The written word takes you to a hypothetical point within this moment, in an attempt to suspend disbelief. This language is used to reference things outside of your present perception, a space where nothing can really be certain. It's your own choice whether its reality or fiction, since language doesn't have the ability to hold a concrete inbuilt truth and a concrete connection with this world. In this context something might be part of reality but in the next it may have no relation to it.