- 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.